Entering Exams at the Preliminary School

Requirements for the performance of the repertoire in the basic major at the entering exam for the Preparatory Division program

Piano Faculty

Piano
The program has to be performed by heart. The examination board may choose for listening not all of the pieces that the applicant prepared to perform, as well as may stop his/her performance at any moment.
The program forwarded by the applicant to the Dean’s Office for an absentee audition has to be performed on a grand piano only: no video recordings of any upright piano performances will be considered.
The applicant’s program has to include the following pieces:

(1) J. S. Bach. One Prelude and Fugue from the WTC (any pair from either Book, optionally)
(2) Haydn, W. A. Mozart, Beethoven, Schubert. Either the 1^st movement of any sonata or any Variations (optionally)
(3) One virtuoso etude (any)

Organ
The program has to be performed by heart. The examination board may choose for listening not all of the pieces that the applicant prepared to perform, as well as may stop his/her performance at any moment.
The program forwarded by the applicant to the Dean’s Office for an absentee audition has to be performed on a pipe organ only: no video recordings of any electronic instrument performances will be considered.
The applicant’s program has to include the following pieces:

(1) one Baroque piece composed by Sweelinck, Buxtehude or Pachelbel (optionally)
(2) one piece composed by J. S. Bach (optionally):
• one Prelude and Fugue from Eight Little Preludes and Fugues for Organ (any pair);
• any choral prelude.

Harpsichord
The program has to be performed by heart. The examination board may choose for listening not all of the pieces that the applicant prepared to perform, as well as may stop his/her performance at any moment.
The program forwarded by the applicant to the Dean’s Office for an absentee audition has to be performed on a mechanical harpsichord only: no video recordings of any electronic instrument performances will be considered.
The applicant’s program has to include the following pieces:

(1) J. S. Bach. One Prelude and Fugue from the WTC (any pair from either Book, optionally)
(2) one or several pieces (optionally):
• one or several pieces by sixteenth-eighteenth-century Italian, German, Dutch or English composers (an approximate list
of the authors: G. Frescobaldi, J. J. Froberger, J. P. Sweelinck, W. Byrd, John Bull);
• either one large or several small eighteenth-century pieces: suites, variations, rondos, sonatas (an approximate list
of the authors: F. Couperin, J. Ph. Rameau, J. Duphly, J. S. Bach, C. F. E. Bach, G. F. Händel, D. Scarlatti, J. Haydn).

Orchestra Faculty

Violin
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
The applicant has to be able to perform in a moderate tempo:

(a) all kinds of scales within a three-octave range: both single-line and with parallel thirds, sixths, octaves and tenths;
(b) all kinds of arpeggios.

Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) Paganini, Wieniawski, Vieuxtemps. Any caprice or etude (optionally);
(2) J. S. Bach. Two contrasting movements from any sonata or partita for solo violin, ВWV 1001–1006 (optionally);
(3) Any concerto (either 1^st movement or 2^nd and 3^rd movements) or any concert piece for violin and orchestra (optionally).

Viola
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
The applicant has to be able to perform in a moderate tempo:

(a) all kinds of scales in a three-octave range: both single-line and with parallel thirds, sixths, octaves and tenths;
(b) all kinds of arpeggios.

Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One caprice or etude for solo viola from the following list (optionally):

• Campagnoli. 41 caprices for solo viola
• Hofmeister. 12 etudes for solo viola
• Kreutzer. 42 etudes for solo violin (arrangement for viola)
• Rodé. 24 caprices for solo violin (arrangement for viola)
• Paganini. 24 caprices for solo violin, op. 1 (arrangement for viola)
• Wieniawski. Eight caprices for solo violin, op. 18 (arrangement for viola)

(2) Two contrasting movements from the following pieces for solo viola (optionally):

• J. S. Bach. Six sonatas and partitas for solo violin, ВWV 1001–1006 (version for viola)
• J. S. Bach. Six suites for solo cello, ВWV 1007–1012 (arrangement for viola)
• Reger. Three suites for solo viola, op. 131d
• Hindemith. Sonatas for solo viola: op. 25 no. 1 or op. 31 no. 4

(3) A large piece: either a concerto for viola and orchestra (either 1^st movement or 2^nd and 3^rd movements) or a sonata for viola and piano (1^st movement) from the following list (optionally):

• C. Stamitz. Concerto No. 1 in D major for viola and orchestra
• Hofmeister. Concerto No. 1 in D major for viola and orchestra
• F. P. Schubert. Concerto in C major for viola and orchestra
• W. A. Mozart. Concerto in A major for clarinet and orchestra (arrangement for viola)
• Alessandro Rolla. Any concerto for viola and orchestra (optionally)
• J. Ch. Bach — R. Casadesus. Concerto in C minor for viola and orchestra
• Händel — R. Casadesus. Concerto in B minor for viola and orchestra
• Bartók. Concerto for viola and orchestra
• Walton. Concerto for viola and orchestra
• Hindemith. Concerto No. 3, der Schwanendreher, for viola and orchestra
• Martinů. Concerto-Rhapsody for viola and orchestra
• Enescu. Concert piece for viola and orchestra
• Brahms. Any of the two sonatas for viola and piano, op. 120
• F. P. Schubert. Sonata in A minor for arpeggione and piano (version for viola and piano)
• R. Clarke. Sonata for viola and piano
• Hindemith. Any of the sonatas for viola and piano (optionally)

Cello
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
The applicant has to be able to perform legato in a moderate tempo:

(1) all scales within a four-octave range — 4, 8, 16, and 32 notes per bow;
(2) all major and minor triads with their two inversions: six notes per bow;
(3) all dominant seventh chords and diminished seventh chords with their both inversions: eight notes per bow;
(4) parallel thirds, sixths and octaves: four intervals per bow.

Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) two etudes for different kinds of technique (optionally; see: Selected Etudes edited by Juozas Čelkauskas);
(2) J. S. Bach. Prelude and any other movement from any suite for solo cello, ВWV 1007–1012;
(3) Dvořák, Saint-Saëns, Lalo, Elgar, Davydov, Shostakovich, Prokofiev. One or two movements from any cello concerto
by these composers.

Double-bass
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
The applicant has to be able to perform legato in a moderate tempo:

(1) all scales within a three-octave range: 4, 8, 16, and 32 notes per bow;
(2) all major and minor triads with their both inversions: three notes per bow;
(3) all dominant seventh chords and diminished seventh chords with their three inversions: four notes per bow.

Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) Grabe, Simandl, Storch, Karapetyants. Any two etudes for different kinds of technique by any of these composers;
(2) Wanhal, Dittersdorf, Capuzzi, Cimador, Bottesini, Koussevitzky. Any double-bass concerto by these composers:
either 1^st movement (with cadenza) or 2^nd and 3^rd movements.

Harp
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano
at least at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
The applicant has to be able to perform:

(1) all major and minor scales, both single-line and in parallel thirds;
(2) all ordinary and broken arpeggios, both single-line and in parallel octaves;
(3) all ordinary and broken dominant seventh chords, both single-line and in parallel octaves.

The applicant’s program has to include the following pieces:
(1) one etude for any kind of technique, for example:

• Posse. Any etude from Eight Large Etudes for Solo Harp
• Zabel. Any etude (optionally)
• F. Godefroid. Any concert etude (optionally);

(2) One piece by a sixteenth-eighteenth-century composer, for example: J. S. Bach, C. F. E. Bach, Händel, Jan Dussek (Dusík),
J.-B. Cardon, J.-B. Krumpholtz, Benda and others. Separate movements from suites or partitas may be performed;
(3) one large concert piece;
(4) one concerto (either 1^st movement or 2^nd and 3^rd movements), variations or fantasia.

Flute
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude or caprice from the following list (optionally), for example:

• E. Köhler. Etudes for flute, op. 33 (Book 3)
• Paganini. 24 caprices in Jules Hermann’s transcription
• N. I. Platonov. Etudes for solo flute
• E. Prill. Etudes for solo flute
• A. B. Fürstenau. Etudes for solo flute
• V. N. Tsybin. Ten concert etudes for flute and piano

(2) Either a sonata or a concerto (either 1^st movement or 2^nd and 3^rd movements), for example (optionally):

• J. S. Bach. Sonatas for flute and harpsichord: No. 5 in E minor (BWV 1034); No. 6 in E major (BWV 1035)
• W. A. Mozart. Concertos for flute and orchestra (KV 313 & 315)
• I. J. Pleyel. Concerto in C major for flute and orchestra, B106
• B. H. Romberg. Concerto in B minor for flute and orchestra, op. 17
• H. Dutilleux. Sonatina for flute and piano

Oboe
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude out of any five ones learned in advance (upon the examination board’s request). See: F. W. Ferling. 48 Etudes,
op. 31
(2) One large piece, a sonata or a concerto, for example:

• Händel. Any entire sonata
• Vivaldi. Any entire concerto
• Haydn. Concerto in C major for oboe and chamber orchestra, Hb.VIIg:C1: either 1^st movement or 2^nd and 3^rd movements
• Saint-Saëns. Sonata for oboe and piano: 2^nd and 3^rd movements

Clarinet
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music.
As examples see: F. Kröpsch. Book No. 4
(2) One large piece, for example:

• Spohr or Weber. Any concerto for clarinet and orchestra (optionally): either 1^st movement or 2^nd and 3^rd movements
• Weber. Grand Concert Duo for clarinet and piano: either 1^st movement or 2^nd and 3^rd movements
• Rossini. Introduction, Theme and Variations for clarinet and orchestra

(3) One virtuoso piece, for example:

• L. Bassi. Concert Fantasia for clarinet and orchestra on Rigoletto Themes
• A. F. Goedicke. Etude for clarinet and piano, op. 28 no. 2

Bassoon
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music.
As examples see: J. Weissenborn, L. Milde
(2) One large piece, for example:

• W. A. Mozart, Weber, Vivaldi, J. A. Koželuch, A. B. Luppov. Any concerto for bassoon and orchestra by these composers (optionally): either 1^st movement or 2^nd and 3^rd movements
• B. Dvarionas. Theme and Variations for bassoon and piano

(3) One piece for bassoon and piano, for example:

• V. V. Kuprevich. Scherzino
• Glière. Impromptu and Humoresque
• Tchaikovsky (transcriptions by I. I. Kostlan): Nocturnes, op. 10 no. 1 and op. 19 no. 4; Polka

French horn
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music.
As examples see: G. Koprasch, A. Cling, K. Starý, J. Gallé and others
(2) One large piece, for example:

• W. A. Mozart. Concertos No. 2 or No. 4 for French horn and orchestra: 1^st movement
• Rossini. Prelude and Theme with Variations in E major for French horn and piano
• R. Strauss. Concerto No. 1 for French horn and orchestra: either 1^st movement or 2^nd and 3^rd movements
• Goedicke, Glière. Any concerto for French horn and orchestra by these composers (optionally)

(3) One piece for French horn and piano, for example:

• Salnikov. Nocturne and Humoresque
• Glazunov. Rêverie
• Glière. Nocturne or Intermezzo

Trumpet
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) One virtuoso etude out of any five ones learned in advance (upon the examination board’s request), may be played
from music. As examples see: W. Wurm, W. Brandt, J.-B. Arban, V. Shchyolokov, D. Ginetsinsky, S. Balasanian and others.
(2) One large piece, for example: T. Albinoni, Händel, Haydn, Hummel, Goedicke, O. Böhme, E. Bozza and others.
Any entire concerto for trumpet and orchestra by these composers (optionally).

Tenor Trombone
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music.
As examples see: V. M. Blazhevich or F. Vobaron.
(2) F. Dávid. Concertino for trombone and piano: 1^st movement (to be played by heart).
(3) Any piece originally composed for tenor trombone (no transcriptions or arrangements allowed), not longer than eight minutes, upon the applicant’s choice (to be played by heart).

Bass Trombone
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music.
As examples see: B. P. Grigoryev or K. Stefanovsky.
(2) E. Sachse. Concertino in B-flat major for trombone and piano: 1^st episode (to be played by heart).
(3) Any piece originally composed for bass trombone (no transcriptions or arrangements allowed), not longer than eight minutes, upon the applicant’s choice (to be played by heart).

Tuba
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
All the applicants have to show their ability to play any kinds of scales, dominant seventh chords and diminished seventh chords
(at the examination board’s discretion), as well as profound embouchure skills and fingering fluency.
All the applicants have to show their ability to sight-read their instrument part in an orchestral or chamber piece (a medium level
of complexity).
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:
(1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music, yet preferably by heart. As examples see: V. Blazhevich, A. K. Lebedev, S. Vasilyev, B. Grigoryev, Zh. Todorov
(2) One large piece for tuba and piano (optionally), for example:

• V. Kladnitsky. Sonata: 1^st movement
• A. K. Lebedev. Either Concert Allegro or Concerto No. 1 in A minor
• N. P. Rakov. Poème-fantasia
• D. Haddad. Suite

Percussion Instruments
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
An applicant has to show his/her profound skills in the performance on the following four instruments:

(1) snare drum;
(2) tympani;
(3) xylophone;
(4) marimba or vibraphone (optionally).

Mandatory Requirements for Each Percussion Instrument

Snare drum:

(1) double stroke roll and multiple bounce roll, speeding up and slowing down, performed with different dynamic marks;
(2) steady and rhythmically accurate performance of both triplets and quadruplets;
(3) steady and rhythmically accurate performance of both etudes and elementary orchestral part extracts (as an example see: K. M. Kupinsky. School of Percussion Playing);
(4) sight-reading of rhythmic etudes (a medium level of complexity) upon the examination board’s request.

Tympani:

(1) performance of tremolos in different dynamic marks;
(2) the tuning of all intervals within an octave, except for a tritone;
(3) steady and rhythmically accurate performance of several etudes for two tympani;
(4) sight-reading of various rhythmic combinations.

Xylophone:

(1) all major and minor scales and arpeggios up to four key signs, including tremolos with flexible volume;
(2) tonic triad with all its inversions in all the keys up to four sings;
(3) dominant seventh chord in major keys and diminished seventh chord in minor keys up to for sings;
(4) two or three etudes with different texture.

Marimba or Vibraphone:
One small piece with a necessary usage of four sticks, upon an enrollee’s choice.

Faculty of Musicology and Composition

Composition

The applicant has to submit to the examination board two or three pieces of different genres composed by him/her personally.
The scores of acoustic pieces have to be provided either printed out or as PDF-files (readable from an iPad or another digital device with a large enough screen). Electronic pieces have to be provided as audio or media files (without the score).
The examination board may choose for watching of, and listening to, not all of the pieces that the applicant prepared to show,
as well as may stop watching of, and listening to, the presented pieces at any moment.
All the applicants to the composition major must be able to play piano at least at an elementary level.

Faculty of Symphony Orchestra and Choral Conducting

Opera and Symphony Orchestra Conducting
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
Attention of the applicants! It is necessary to have two copies of the Klavierauszug for a pair of accompanists.
The applicant’s repertoire has to include one or two symphonic pieces, for example:

• W. A. Mozart. Any overture (optionally)
• Weber. Overture to Oberon
• Beethoven. Symphony No. 1: 1^st movement
• Tchaikovsky: Romeo and Juliet, Symphonies Nos. 2 or 5 (optionally): 1^st movement
• any other symphonies by other composers

Choral Conducting
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include two choral pieces:

(1) for choir a cappella;
(2) for choir with a piano accompaniment.

The applicant has to be able to play the score of the a cappella piece on the piano by heart.

Vocal Faculty

Academic Solo Singing
The video recording forwarded by the applicant to the Dean’s Office for an absentee audition has to include a warm-up in the form of sequential major-triad arpeggios by semitone steps, up and down, within the applicant’s effective range.
The program has to be performed by heart. All the applicants, regardless of their major, must be able to play piano at least
at an elementary level. The examination board may choose for listening not all of the pieces that the applicant prepared
to perform, as well as may stop his/her performance at any moment.
Attention of the applicants! It is necessary to have one copy of the music for an accompanist.
The applicant’s program has to include the following pieces:

(1) one aria (optionally);
(2) one folksong (optionally).

Entering Exams at the Preliminary School

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