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Syllabus and Policies

Daniel Nesta Curtis, Ensemble Division Chair

Undergraduate course #: 57418
Graduate course #: 57818

Philharmonic: Daniel Nesta Curtis, Director of Orchestral Studies; dcurtis@andrew.cmu.edu
Wind Ensemble: George Vosburgh, Music Director; vos@andrew.cmu.edu
Stephen Story, Associate Director; story@andrew.cmu.edu
Contemporary Ensemble: Robert Frankenberry; frankentenor@gmail.com
Opera Orchestra: Crystal Manich, Director of Opera Studies; 
Taylor Boyle, Ensemble Librarian and Special Events Coordinator; tboyle@andrew.cmu.edu

Overview and Purpose

Major Instrumental Ensembles is a central, required component of the instrumental
performance curricula within the CMU School of Music. The purpose of the major
ensembles’ activities is to prepare students for careers as dynamic leaders in
professional orchestras, wind ensembles, contemporary ensembles, and other
professional music groups. By collaborating with a variety of different conductors and
soloists on programs that cover a wide variety of styles of music, students will develop
the many skills necessary to win auditions and hold jobs in professional ensembles.
Major Instrumental Ensembles also offers students the extraordinary experience of
shaping the future of the large ensemble art form by premiering new works, highlighting
underappreciated music, and engaging in exciting new collaborations.

The success of any large instrumental ensemble depends on high-level intricate
collaboration, impeccable organization, and dedication from each and every individual
involved. The following protocols and policies have been crafted in order to facilitate
incredible musical collaboration and experiences that prepare students to be leaders in
the profession. These policies pertain to the 4 ensembles included under the umbrella
of Major Instrumental Ensembles-- philharmonic, wind ensemble, contemporary
ensemble, and opera orchestra– and should be referred to throughout the year. Any
issues or questions not addressed in this document should be brought directly to
ensemble directors.

Rehearsals

The complete schedule of rehearsals and concerts of all major ensembles are posted
before the beginning of the school year. Rehearsal dates will change only due to an
emergency, unforeseen, and unavoidable issue, and any changes will be thoroughly
communicated.

Nearly all major ensemble rehearsals occur within the scheduled rehearsal period of
Tuesday-Friday, 4-6:30p. Occasionally, a Monday rehearsal is necessary due to lack of
availability on other days in a rehearsal cycle. In opera orchestras, dress rehearsals
occur during performance hours (7-11p) rather than during the afternoon rehearsal
period. Each rehearsal’s venue, specific timing, and repertoire will be listed in the
detailed online rehearsal schedule and will be available to students through the new
ASIMUT scheduling platform. While the School of Music is transitioning to a new
scheduling platform, rehearsal schedule details will continue to be shared via the online
major instrumental ensembles google calendar.

Students are required to be at all assigned rehearsals and to be completely prepared to
play their individual parts at the first rehearsal. Proper protocol is for students to arrive
at least 10 minutes early in order to be warmed up and ready for the start of rehearsal. Any necessary announcements will take place just before the start of rehearsal.

Tuning occurs at the exact time a rehearsal begins. The concertmaster (or conductor
depending on the ensemble) will indicate the number of tuning ‘A’s’ and clarify the
precise protocol. During tuning protocol, it is essential that there are no distractions,
conversations, or noise, so that the entire ensemble may tune effectively and efficiently.
Rehearsals will include 1 10 or 15 minute break, occurring near the mid-point of
rehearsal. Tuning protocol is repeated after the break. Rehearsals will start and end
exactly on time. Conductors will make themselves available 10 minutes before and
after each rehearsal, to answer any questions musicians might have.

As much as possible, conductors will include details of rehearsal timing on the online
ensemble Google schedule and ASIMUT platform. For musicians who may be joining
rehearsal for a particular work or works, specific start times will be listed on the
calendar, however musicians must be ready at least 15-minutes before the posted time.
While conductors try to be as specific as possible, a certain amount of flexibility is
necessary to allow a rehearsal to proceed early.

Food and drinks are not permitted in any ensemble rehearsal or performance space,
except bottled water.

Cell phones are a huge distraction and have no place at a rehearsal or concert. Cell
phones should be turned off or silenced and left in a musician’s case or bag. Texting or
use of any electronics during rehearsal will impact a student’s major instrumental
ensemble grade. Texting or use of any electronics on stage before, during, or
immediately following concerts will result in an immediate failing grade.

Musicians are responsible for bringing their music to every rehearsal as well as a
sharpened pencil and eraser to record markings, changes, or any other requests from a
conductor.

Concerts

Students are required to arrive at least 30 minutes before the start of all concerts,
though certain instruments like harp and percussion should arrive as early as necessary
to prepare their instruments. Warming up onstage and reviewing details of the music to
be performed is welcomed and encouraged. Musicians should not warm up by playing
concertos or showing off before a concert. Consummate professionalism is expected
and required at all times when one is onstage and in view of the public.

Before each concert, conductors will clarify the precise protocols for entering and exiting
the stage. Conductors will typically ask the full ensemble to stand when the conductor
enters for the first work of a program. Ensemble musicians should watch the
concertmaster, principal cello, or other designated principal musician, for cues to stand
and sit during a concert.

After a performance, conductors may acknowledge individual solos or sections of the
ensemble. Musicians must remain alert, watch the conductor, and be prepared to stand
and accept the recognition. Individuals should not remain standing while other solos
are being recognized.

A performance ends when the last applause concludes. Congratulations, hugs,
exchanges, and photo-ops are all appropriate after a concert, however a professional
demeanor is still called for.

Casting

To facilitate casting and scheduling, string students should assume they will be cast in
all ensemble cycles except wind ensemble, and wind/brass/percussion students should
assume they may be cast in any of the 4 major ensembles’ activities. Please see the
protocol below for requesting an excused absence.

For all woodwind, brass, percussion, harp, and keyboard instruments, all instrumental
part assignments for major ensembles will be determined by the studio instructor or
instructors on a per-concert basis. In many cases, specific auditions will be organized
for a particular part assignment. In this way, studio instructors may monitor the part
assignments and involvement in different ensembles of each individual student and
determine the best trajectory and timing for those ensemble experiences.

All string players will participate in the philharmonic’s principal strings’ audition, which
will occur after the first philharmonic concert. Seating and leadership of the first concert
cycle will be determined by the strings faculty and the director of orchestral studies
based on their assessment of seniority, experience, and capacity to lead.
The casting process begins 1 month prior to the start of a rehearsal cycle and will be
completed and finalized no later than 2 weeks before the start of rehearsals.

Concert Dress and Stage Presence

The concert dress for all CMU major ensembles is “elegant concert black.” This
includes black suits and dress shirts, long black skirts and elegant black tops, formal
slacks, gowns, jumpsuits, blouses, formal shirts, black socks, and black closed-toed
shoes.

With respect to the concert dress outlined above, students are encouraged to dress in a
way that makes them feel comfortable and empowered to make music. It is the aim of
this policy to support all students in rehearsal and concert spaces. We support trans
and gender nonconforming students in choosing concert attire that empowers them and
we support students who dress in alignment with their culture or religion.

Music

The music for major instrumental ensembles is prepared, edited, and distributed with
great care by ensemble directors in collaboration with Ensemble Librarian and SoM
Events Coordinator, Taylor Boyle. Any requests or questions related to ensemble music
that is not covered in these policies should be directed toward Taylor Boyle at
.

Music for all standard repertoire works to be performed by the CMU Philharmonic is
available at the beginning of the school year via the online file sharing box.

Rental music for the Philharmonic, Wind Ensemble, Contemporary Ensemble, and
Opera will be scanned and uploaded to the online box as soon as it is received by
publishers and reviewed by conductors, typically 2 months before a concert.

All original parts for all ensemble concerts will be available for pick-up no later than 2
weeks prior to the first rehearsal of a concert cycle. Folders with original parts are
distributed using a large metal filing cabinet located in the basement level of the CFA
building, outside the ensemble music library and Taylor Boyle’s office. Once
assignments are finalized and music is in the cabinet, students may pick up their folders
at any time.

In addition to materials from CMU’s ensemble music library and materials rented from
publishers, the materials used in major ensembles may be from conductors’ personal
libraries or borrowed from other organizations such as the Pittsburgh Symphony. This
music contains important annotations, edits, bowings, and corrections and therefore
must be respected and cared for. Any student who defaces or loses a part will be
charged a replacement fee of $50 per part.

All music should be returned immediately after a concert. Ensemble librarians will
communicate the protocol for returning music, which typically involves dropping folders
in music crates backstage or leaving folders on music stands onstage after a concert.
Music not received 7 days after a concert will be deemed lost and fines will be
assessed.

Preparation for rehearsals and concerts

Studio teachers are a vital resource for students' preparation of ensemble music.
Students are encouraged to bring ensemble repertoire to lessons for discussion and
guidance. Studio instructors are aware of the planned repertoire and schedule and very
frequently include excerpts from the ensemble repertoire in their studio and rep and lit
classes to assist in preparation of parts.

Students are encouraged to listen to several different recordings of a particular work,
study the full score, play through parts with colleagues in advance of rehearsal, consult
trusted outside sources for advice, and go to concerts to hear the repertoire performed
live. Studying the composer’s biography, the history around a particular work, and the
musical influences that may be present are also components of thorough preparation.

Different subsections of the major ensembles are encouraged to organize their own
sectional rehearsals. This may occur before the first tutti rehearsal, or in the midst of a
rehearsal cycle as necessary. String section leaders and principal wind players may call
a sectional rehearsal to address particular challenges that arise in rehearsal, or if a
conductor expresses that a section is not adequately prepared for a rehearsal or
concert.

Grading

Grading is be based on the following criteria:

Attendance - The presence and dedication of each and every musician in an
ensemble is essential to the ensemble’s success. Students are expected to
organize class work, gigs and other performance opportunities around the
ensembles’ schedule. Please carefully read the excused absence policy
below, which details the very specific circumstances that allow for an excused
absence request. Unexcused absences from ensemble rehearsals are the
primary issue that leads to poor ensemble grades.

Participation - Musicians should be engaged throughout the rehearsal process
and approach the work with a positive, collaborative attitude. Participation
involves caring for physical materials, avoiding distractions such as cell
phones, and remaining focused on the task at hand even in moments of
rehearsal that may be focused on another part of the ensemble. Participation
also means quickly implementing suggestions from the podium, following
section leaders, and being coordinated with their sections in terms of bowings,
breathing, phrasing, and intonation.

Preparation - Students are expected to have their individual parts learned,
fingered, up to tempo, and in tune for the first rehearsal of every cycle. Please
consult the components that contribute to thorough preparation outlined
above.

Attendance is required at every rehearsal and concert. An unexcused tardiness or
absence will lower a student’s grade significantly.

tardy to 1 rehearsal = ½ unexcused absence
tardy to 1 dress rehearsal = 1 unexcused absence
tardy to 1 concert = 4 unexcused absences
absent from 1 rehearsal = 1 unexcused absence
absent from 1 dress rehearsal = 2 unexcused absences
absent from 1 concert = 4 unexcused absences

Each unexcused absence will lower your grade by one letter. For example, one
unexcused absence would lower an “A” to a “B.” Four unexcused absences will result in
an “R” or failing grade. An unsatisfactory grade (D or lower for undergraduate students,
C or lower for graduate and AMS students) may result in loss of good standing in the
School of Music or being dropped from the School of Music.

Students do not receive a grade for each ensemble they participate in; instead, all
students receive a grade reflecting the totality of their ensemble activities in a given
semester. Importantly, this attendance policy and the effect it has on a student’s
ensemble grade, is cumulative across ensembles. For example, a student who has 1
unexcused absence from philharmonic, is late to a contemporary ensemble dress
rehearsal, and is tardy to 2 opera orchestra rehearsals will result in a ‘D’ grade for that
semester.

Excused Absence Policy

Participation in Major Instrumental Ensembles is a curricular requirement of all
undergraduate and graduate strings, woodwinds, brass, harp, and percussion
instrumentalists and must be treated as a top priority.

The major ensembles' concert and rehearsal schedules are published on the school of
music website well before the start of the school year and this schedule is set in stone
for the entire year. Therefore, there is no excuse for not knowing what the schedule is.
The alternation of ensembles in the major ensembles schedule allows for weeks where
certain instruments will not be involved. Special performance projects, gigs, and musical
work outside of the school of music should be scheduled around the major ensembles’
dates. For these reasons, excused absences from ensembles for reasons other than
illness or a family emergency will be granted only in very rare circumstances.

Although assignments are published on a per-cycle basis (at least two weeks before the
first rehearsal) all eligible instrumentalists in the School of Music should assume that
they will be assigned to every philharmonic cycle and all wind/brass/percussion
students should assume they will be assigned to every wind ensemble cycle. If a
potential conflict with an ensemble’s schedule arises, students should submit their
petitions for an excused absence or tardiness according to the protocols and deadlines
detailed below.

An excused absence may be granted in the following circumstances:

1. A professional opportunity that has the potential to significantly advance a
student’s career. This includes gigs with ensembles that hold a very high
profile in the industry, auditions for major ensemble positions, and auditions
for major competitions or festivals.
2. Auditions for graduate school or doctorate programs when an alternate,
non-conflicting date is not available.
3. Illness or a medical emergency.
4. A family emergency/death in the family.
An excused absence will likely NOT be granted in the following circumstances:
1. If the request is submitted after the deadline (see below).
2. If alternate audition dates/times or travel options are available that would
prevent there being a conflict.
3. If the gig, even a paid gig, is with an orchestra/ensemble that does meet a
certain level of artistic excellence to justify the student’s absence from CMU
ensembles.

Excused Absence Process

Students should submit a request for an excused absence as soon as the potential
conflict is known; students should not wait until they are assigned to a cycle to submit a
petition for an excused absence or release from a cycle. The earlier a petition for an
excused absence is received, the greater the likelihood that it may be approved.

The approval or disapproval of an excused absence request is the decision of ensemble
directors only.

To request that a tardiness or absence be considered for an excuse, the following steps
must be taken:

1. Send an email to Taylor Boyle () and the director of
the ensemble to which the conflict applies.
2. Copy your studio teacher on the email. As most assignments to instrumental
ensembles come from studio teachers, it is important that they are aware of
any potential conflicts and scheduling issues within their studio, ideally before
assignments are made.
3. State the following in your email petition:
a. your name
b. your instrument
c. date(s) in conflict
d. detailed explanation of the reason for the conflict
4. In the same or in a subsequent email, provide official documentation that
clearly details the nature of the conflict. Depending on the type of conflict, this
documentation may take the form of a doctor’s note, an email invite to an
audition or competition, or a hiring letter/contract for a professional
performance opportunity.
5. If you are a wind player, percussionist, harpist, keyboard or principal string
player, you must find a substitute for your part/s and name them on the
petition. No petition will be approved without this information.

Deadlines for an Excused Absence Petition

Illness or Emergency: Email within three days of the date of the tardiness or absence.

Professional Opportunity or Audition: Email at least two weeks before the first rehearsal
of the cycle in which the tardiness or absence is requested.

A request to be released from a rehearsal or concert for a professional opportunity that
is not submitted before the two-week deadline will be denied.

Principal String Auditions

Auditions for principal strings in the philharmonic, opera orchestra, and contemporary
ensemble will occur on October 5th, 6th, 7th, and 8th. All string players are required to
participate in this audition, which will be evaluated by Professor Curtis and string faculty.

The principal string audition may result in multiple co-principals who will rotate in and
out of leadership positions. All decisions are based solely on the audition, are final, and
will remain in place for the entirety of the academic year.

String players who are not selected to lead will rotate seating throughout their sections,
having opportunities to play from different positions in the section and in collaboration
with different stand partners.

Principal Strings Audition Schedule:

Monday, October 5th
4:00-5:00p basses
5:15-6:30p cellos

Tuesday, October 6th
4-6:30p violas

Wednesday, October 7th
4-5:30p violins, pt. 1

Thursday, October 8th
4-5:30p violins, pt. 2

N.B.: audition schedule subject to change

Audition Repertoire:

Violin:
Exposition of a concerto
Beethoven: Symphony No. 6, Movement 4: mm. 1-19, Violin 2
Dukas: The Sorcerer’s Apprentice: 9 measures after Reh. 25 to Reh. 30
Brahms: Symphony No. 1, Movement 2: mm. 90-128

Viola:
Exposition of a concerto
Britten: Peter Grimes, Interlude IV- Passacaglia Solo
Mozart: Symphony No. 35, Movement 4: mm. 134-181
R. Strauss: Don Quixote, Variation III solo [Reh. 14 to Reh. 18]

Cello:
Exposition of a concerto
Beethoven: Symphony No. 6, Movement 5: mm. 25-56
Tchaikovsky: Symphony No. 4, Movement 1: mm. 27-36
Mozart: Symphony No. 35, Movement 1: beginning to Reh. B

Double-bass:
Exposition of a concerto
Tchaikovsky: Symphony No. 4, Movement 1: 3 measures after Reh. B to Reh. C
Schubert: Symphony No. 9, Movement 3: beginning to Reh. A
Mahler: Symphony No. 1, Movement 3: beginning to 2 measures after Reh. 2

Health and Well-Being

Living in a time of intense polarization, authoritarianism, income inequality, and
international conflict poses unique challenges for artists. It is important to acknowledge
the stresses this reality places on us. At the same time, the expectations for excellence,
the pressure to be your best musical self, has, perhaps, never been greater due to the
very competitive nature of our industry. We all share some of the responsibility for
making our artform relevant in 2026 and beyond. This is both exciting and incredibly
daunting.

Our new reality of spending so much time alone, indoors, and seated in front of a
screen can certainly take its toll on our mental and physical well-being. You are
encouraged to take breaks, move frequently throughout the day, meditate, eat well, stay
hydrated, and get plenty of sleep. These acts of care toward oneself are critically
important to developing one’s artistry.

It is crucial that we be a supportive community for each other and recognize all of the
resources available from the university. All of us benefit from support during times of
struggle and there are many helpful resources available through the university’s
Counseling and Psychological Services (CaPS). Anyone experiencing academic stress,
difficult life events, or feelings of anxiety and depression, should not hesitate to ask for
support.

If you or anyone you know is struggling with mental health, we strongly encourage you
to seek support. Counseling and Psychological Services (CaPS) is here to help: call
412-268-2922 and visit their website at .
If you or someone you know is feeling suicidal or in danger of self-harm, call someone
immediately, day or night:

CaPS: 412-268-2922
Re:solve Crisis Network: 888-796-8226

If the situation is life threatening, call the police:
On campus: CMU Police: 412-268-2323
Off campus: 911

CFA ENGAGEMENT & BELONGING

The College of Fine Arts

The College of Fine Arts (CFA) attracts a vast array of students, faculty, and staff from a
variety of identities and backgrounds. This enhances the creativity of our community,
and requires that we work thoughtfully and intentionally to create an inclusive
environment where all can experience belonging.
CFA Office of Engagement & Belonging

The Office of Engagement & Belonging provides oversight, assessment and
consultation to connect and empower the CFA Community. We work to cultivate a
broader understanding of our global society and equip individuals in our community to
engage meaningfully with each other.

Our work is grounded in the belief that art is a valuable tool for effectuating change,
exploring individuality, and finding commonality. We believe in the unique capacity of
creative expression to prepare students to live in a pluralistic society.
For more information or to get connected, please contact Dr. Angelica Perez-Johnston,
Associate Dean for Engagement & Belonging (). The Office of
Engagement & Belonging is located at Hall of Arts 132.

CMU COMMUNITY ENGAGEMENT

CMU Commitment to Belonging

Ranging perspective and experiences catalyze CMU’s passionate and uninhibited spirit.
That’s why we cultivate an environment with educational access and community
engagement so all feel welcomed, supported and empowered to achieve their full
potential.

ÌÇÐÄVlogÊÓƵ is committed to fostering an environment where all members
feel welcome, valued and positioned to thrive. We believe that education can be a
transformative and enriching force for every person, irrespective of their background,
identity or life circumstances.

The concept of belonging is foundational to our mission and is intricately interwoven into
the very essence of our university, helping to shape our values, policies, and practices.

For an overview and details about CMU’s initiatives on Inclusive Excellence, see:
/inclusive-excellence/

CMU Center for Student Diversity & Inclusion (CSDI)

Diversity and inclusion have a singular place among the values of CMU. The Center for
Student Diversity & Inclusion actively cultivates a strong, diverse and inclusive
community capable of living out these values and advancing research, creativity,
learning and development that changes the world.

The Center offers resources to enhance an inclusive and transformative student
experience in dimensions such as access, success, campus climate and intergroup
dialogue. Additionally, the Center supports and connects historically underrepresented
students and those who are first in their family to attend college in a setting where
students’ differences and talents are appreciated and reinforced.

The CSDI is located in Cohen Univ.Ctr, lower level, csdi@andrew.cmu.edu,
412-268-2150. More information at:

CMU Bias Reporting

Carnegie Mellon is committed to fostering an environment where our community can
grow, learn and ultimately thrive together. Sometimes things impact our community that
don’t violate any formal policies or require disciplinary action, but still cause harm and
necessitate thoughtful education and restoration. To that end, the Campus Climate and
Bias Reporting Protocol (CCBRP) is a non-disciplinary mechanism for reporting and
informally resolving incidents of alleged bias focusing on education, restoration, and
strengthening and upholding our core values as a university community. A student, staff,
faculty member, third party, or campus visitor may report a Bias Incident to the Office for
Institutional Equity. If you need guidance or are uncertain as to what your options are,
please feel free to contact CFA's Office for Engagement & Belonging prior to submitting
a report.

Excused Absence Policy

Participation in Major Instrumental Ensembles is a curricular requirement of all undergraduate and graduate strings, woodwinds, brass and percussion instrumentalists and must be treated as a top priority. 

The major ensembles' concert and rehearsal schedules are published on the school of music website well before the start of the school year and this schedule is set in stone for the entire year. Therefore, there is no excuse for not knowing what the schedule is. The alternation of ensembles in the major ensembles schedule allows for weeks where certain instruments will not be involved. Special performance projects, gigs, and musical work outside of the school of music should be scheduled around the major ensembles’ dates. For these reasons, excused absences from ensembles for reasons other than illness or a family emergency will be granted only in very rare circumstances.

Although assignments are published on a per-cycle basis (at least two weeks before the first rehearsal) all eligible instrumentalists in the School of Music should assume that they will be assigned to every philharmonic cycle and all wind/brass/percussion students should assume they will be assigned to every wind ensemble cycle. If a potential conflict with an ensemble’s schedule arises, students should submit their petitions for an excused absence or tardiness according to the protocols and deadlines detailed below.

An excused absence may be granted in the following circumstances:

1. A professional opportunity that has the potential to significantly advance a student’s career. This includes gigs with ensembles that hold a very high profile in the industry, auditions for major ensemble positions, and auditions for major competitions or festivals.
2. Auditions for graduate school or doctorate programs when an alternate, non-conflicting date is not available. 
3. Illness or a medical emergency.
4. A family emergency/death in the family. 

An excused absence will likely NOT be granted in the following circumstances:

1. If the request is submitted after the deadline (see below).
2. If alternate audition dates/times or travel options are available that would prevent there being a conflict.
3. If the gig, even a paid gig, is with an orchestra/ensemble that does meet a certain level of artistic excellence to justify the student’s absence from CMU ensembles.

Excused Absence Process

Students should submit a request for an excused absence as soon as the potential conflict is known; students should not wait until they are assigned to a cycle to submit a petition for an excused absence or release from a cycle. The earlier a petition for an excused absence is received, the greater the likelihood that it may be approved. 

The approval or disapproval of an excused absence request is the decision of ensemble directors only. 

To request that a tardiness or absence be considered for an excuse, the following steps must be taken:

1. Send an email to Taylor Boyle (taylorbo@andrew.cmu.edu) and the director of the ensemble to which the conflict applies.  
2. Copy your studio teacher on the email. As most assignments to instrumental ensembles come from studio teachers, it is important that they are aware of any potential conflicts and scheduling issues within their studio, ideally before assignments are made.
3. State the following in your email petition: 
   1. your name
   2. your instrument
   3. date(s) in conflict
   4. detailed explanation of the reason for the conflict
4. In the same or in a subsequent email, provide official documentation that clearly details the nature of the conflict. Depending on the type of conflict, this documentation may take the form of a doctor’s note, an email invite to an audition or competition, or a hiring letter/contract for a professional performance opportunity.
5. If you are a wind player, percussionist, harpist, keyboard or principal string player, you must find a substitute for your part/s and name them on the petition. No petition will be approved without this information.

Deadlines for an Excused Absence Petition

Illness or Emergency: Email within three days of the date of the tardiness or absence.

Professional Opportunity or Audition: Email at least two weeks before the first rehearsal of the cycle in which the tardiness or absence is requested.

A request to be released from a rehearsal or concert for a professional opportunity that is not submitted before the two-week deadline will be denied.

Principal String Auditions

Auditions for principal strings in the philharmonic, opera orchestra, and contemporary
ensemble will occur on October 5th, 6th, 7th, and 8th. All string players are required to
participate in this audition, which will be evaluated by Professor Curtis and string faculty.

The principal string audition may result in multiple co-principals who will rotate in and
out of leadership positions. All decisions are based solely on the audition, are final, and
will remain in place for the entirety of the academic year.

String players who are not selected to lead will rotate seating throughout their sections,
having opportunities to play from different positions in the section and in collaboration
with different stand partners.

Principal Strings Audition Schedule:

Monday, October 5th
4:00-5:00p basses
5:15-6:30p cellos

Tuesday, October 6th
4-6:30p violas

Wednesday, October 7th
4-5:30p violins, pt. 1

Thursday, October 8th
4-5:30p violins, pt. 2

N.B.: audition schedule subject to change

Audition Repertoire:

Violin:
Exposition of a concerto
Beethoven: Symphony No. 6, Movement 4: mm. 1-19, Violin 2
Dukas: The Sorcerer’s Apprentice: 9 measures after Reh. 25 to Reh. 30
Brahms: Symphony No. 1, Movement 2: mm. 90-128

Viola:
Exposition of a concerto
Britten: Peter Grimes, Interlude IV- Passacaglia Solo
Mozart: Symphony No. 35, Movement 4: mm. 134-181
R. Strauss: Don Quixote, Variation III solo [Reh. 14 to Reh. 18]

Cello:
Exposition of a concerto
Beethoven: Symphony No. 6, Movement 5: mm. 25-56
Tchaikovsky: Symphony No. 4, Movement 1: mm. 27-36
Mozart: Symphony No. 35, Movement 1: beginning to Reh. B

Double-bass:
Exposition of a concerto
Tchaikovsky: Symphony No. 4, Movement 1: 3 measures after Reh. B to Reh. C
Schubert: Symphony No. 9, Movement 3: beginning to Reh. A
Mahler: Symphony No. 1, Movement 3: beginning to 2 measures after Reh. 2