Information on Additional Training for Foreign and Stateless Citizens Entering the Preparatory Division

Additional Training Information for Foreign and Stateless Citizens Entering the Preparatory Division of the Five-year Second-level Higher Education Programs

Tchaikovsky Moscow State Conservatory (hereinafter to be referred to as “the Conservatory”) offers a series of additional training courses in the area of concert performance and other artistic majors for foreign and stateless citizens who plan to enter our Preparatory Division for the five-year second-level higher education programs. Applicants with at least an elementary level of education who successfully pass an artistic exam on their majors will be admitted. All the additional training programs are taught full-time and provided on a commercial basis only. The artistic exam on the major (entering exam) is held twice a year:

• (1) on June 1–10;
• (2) on September 5–14.

Every applicant must submit his/her personal request addressed to the Conservatory Rector and provide:

• (1) his/her passport or another personal ID;
• (2) original certificates of his/her education with their notarized Russian translations;
• (3) six photos;
• (4) an international medical certificate on the absence of HIV.

In the event the artistic exam is passed successfully, the applicant will:

• (1) have to sign an agreement with the Conservatory on the rendering of educational services to him/her;
• (2) have to submit an international or local medical insurance for a period of his/her future studies.

A usual length of the studies is one academic year, lasting from 15 September till 15 July inclusive. The program may be repeated upon a teacher’s recommendation and the trainee’s request. The following courses (with an indication of the number of academic hours per year) are included into the program:

Courses	Majors
	Piano	Singing	Conducting	Composition	Others
Russian Language	640 hours	640 hours	640 hours	640 hours	640 hours
basic major	72 hours	108 hours	72 hours	72 hours	72 hours
Music History	72 hours	72 hours	72 hours	72 hours	72 hours
Solfege	72 hours	72 hours	72 hours	36 hours	72 hours
Harmony	72 hours	—	72 hours	36 hours	72 hours
Basic Piano	72 hours	36 hours	36 hours	36 hours	36 hours
Music Theory	—	72 hours	—	—	—
Counterpoint	—	—	—	36 hours	—
Instrumentation	—	—	—	36 hours	—
Music Analysis	—	—	36 hours	—	—
Art of Accompaniment	36 hours*	—	—	—	—

^* For trainees with finished or unfinished higher education only.

The Conservatory will conclude an agreement with the trainee on the rendering of educational services on a commercial basis after he/she submits all the necessary documents and successfully passes his/her artistic exam. An agreement on the rendering of educational services on a commercial basis (for a purpose of studying at the Preparatory Division) may be concluded either by a person older than 18 years or by an immature trainee’s authorized representative under a warranty for representation of his/her interests with a signatory right. In order to conclude an agreement with the trainee’s representative, documents certifying the identities of both the trainee and his/her representative have to be provided.

The cost of the studies at the additional training program for every next academic year is established in the preceding academic year by Rector’s order upon results of its approval by the Department for Science and Education of Russia’s Ministry of Culture. The cost of the studies for the academic year 2020–21 is, optionally:

• (a) 8661.13 euros;
• (b) 9672.00 US dollars;
• (c) a ruble equivalent of any of the indicated amounts to be calculated in accordance with the official exchange rate of the Bank of Russia on the day of payment.

The trainee who successfully passes the Preparatory Division program — that is, who passes the current, intermediate and final attestations (both in his/her major and in the Russian Language course) — will receive a Certificate in the form established by the Conservatory. Upon completion of the Preparatory Division program, the certified trainees will take their entering exams in the area of concert performance or other artistic majors of the Conservatory’s five-year second-level higher education programs on equal bases with local applicants.

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

The applicant’s repertoire has to include two or three musical pieces of various genres 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.

Piano
The applicant’s repertoire has to include the following pieces:

• (1) J. S. Bach. One Prelude and Fugue from the WTC (optionally)
• (2) Haydn, W. A. Mozart, Beethoven, Schubert. Either the 1^st movement of any sonata or Variations (optionally)
• (3) One virtuoso piece (optionally; for example, Chopin’s etude)

Attention of the applicants entering for all other performance majors!

• (1) It is necessary to have one copy of the music for an accompanist.
• (2) Those who enter for the major Opera and Symphony Orchestra Conducting should have two copies of the Klavierauszug for a pair of accompanists.

Academic Solo Singing
The repertoire has to include the following pieces:

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

String Instruments

Violin
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.

The repertoire 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
• (3) Any concerto (either 1^st movement or 2^nd and 3^rd movements) or concert piece for violin and orchestra

Viola
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.

The repertoire 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)
• 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, Walton. Concertos 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 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 three inversions: eight notes per bow
• (4) thirds, sixths and octaves: four intervals per bow

The repertoire 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 (optionally)
• (3) Dvořák, Saint-Saëns, Lalo, Elgar, Davydov, Shostakovich, Prokofiev. One or two movements from any cello concerto by these composers (optionally)

Double-bass
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 two inversions: three notes per bow
• (3) all dominant seventh chords and diminished seventh chords with their three inversions: four notes per bow

The repertoire has to include the following pieces:

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

Harp
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 repertoire 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 (optionally)
• 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 (optionally)
• (4) One concerto (either 1^st movement or 2^nd and 3^rd movements), variations or fantasia (optionally)

Woodwind, Brass and Percussion Instruments

General requirements:

1. All applicants entering for any major including concert performance on woodwind, brass and percussion instruments 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 finger fluency.
2. It is necessary to show an ability to sight-read an instrument part in an orchestral or chamber piece (a medium level of complexity).

The applicants’ repertoires have to include the following pieces (by separate lists):

Flute

• (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 (optionally; either 1^st movement or 2^nd and 3^rd movements), for example:

• J. S. Bach. Sonatas for flute and harpsichord: No. 5, BWV 1034 (E minor); No. 6, BWV 1035 (E major)
• 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

• (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 (optionally)
• Vivaldi. Any entire concerto (optionally)
• 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

• (1) One etude out of any five ones learned in advance (upon the examination board’s request), may be played from music. 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

• (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 (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

• (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 (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 (optionally)

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

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

Trumpet

• (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: 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 (optionally)

Tenor Trombone

• (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 (optionally): not longer than eight minutes (to be played by heart)

Bass Trombone

• (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 for trombone and piano (B-flat major): 1^st episode (to be played by heart)
• (3) Any piece originally composed for bass trombone (optionally): not longer than eight minutes (to be played by heart)

Tuba

• (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 (optionally), for example:

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

Percussion Instruments

An applicant has to show profound skills in the performance on four instruments (snare drum, tympani, xylophone, Glockenspiel) in accordance with the following requirements:

Snare drum

• (1) double stroke roll, speeding up and slowing down, performing different dynamic marks
• (2) steady and rhythmically accurate performance of both etudes and elementary orchestral part extracts (see: K. M. Kupinsky. School of Percussion Playing: Nos. 1–40)
• (3) sight-reading of rhythmic etudes containing syncopations and rests, as well as triplets, quintuplets, sextuplets and septuplets; ability to perform different dynamic marks

Tympani

• (1) performance of single strokes in various rhythmic figures, moving from one drum to another, speeding up and slowing down
• (2) performance of tremolos in different dynamic marks
• (3) the tuning of all intervals within an octave, except for a tritone
• (4) etudes for two tympani from K. M. Kupinsky’s School of Percussion Playing
• (5) the sight-reading of rhythmic combinations

Xylophone

• (1) all major and minor scales and arpeggios, both single strokes and tremolos
• (2) K. M. Kupinsky. School of Percussion Playing
• (3) either one large piece (a concerto movement) or two medium- and simple-structured virtuoso pieces
• (4) the sight-reading of brief musical extracts in a moderate tempo

Glockenspiel
One brief piece according to the applicant’s choice

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.

Academic Choir Conducting

The applicant’s repertoire has to include two choral pieces:

• (1) a cappella,
• (2) with a piano accompaniment.

Both pieces have to be conducted by heart. The applicant has to be able to play the a cappella piece on the piano.

Opera and Symphony Orchestra Conducting

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