Taking part in Young

Each young musician must be nominated by someone who knows him or her well – a music teacher or a conductor of a local youth orchestra, school orchestra or ensemble, for example. The nominator writes a recommendation, which the nominee can attach to his or her application on Muvac.

You will need two referees (one of whom is the nominator). Your two referees will then make their confidential recommendations based on your personal and musical qualities. Important questions that need to be answered are:

• What is the musical motivation for making the recommendation?
• How would the nominee contribute to Young’s other objectives regarding diversity, ambassadorship and hidden talent?

These two recommendation letters (from the ‘nominator’ and the reference) can be attached to the application on Muvac.

Describe your background, musical experience and education.

• Where do you come from? Where do you live? Describe your family, your school and your musical and other hobbies.
• How long have you had lessons? With whom have you studied? Have you won any prizes? Do you have experience playing in an orchestra?

Violin

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
10 bars before [D] (Allegro Giusto) until 4 bars after [F]
1 bar before [O] until 4 bars after [P]
1 bar before [Q] until [R]

Mussorgsky - Pictures at an Exhibition
Movement III: Tuileries
Movement VI: Samuel Goldenberg und Schmuyle: [56]-[58]
Movement VII: Limoges - Le Marché: [63]-[66]

Download Audition excerpts Violin (pdf)

Viola

Beethoven – Symphony No. 6
Movement III: begining-bar 85

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
Allegro giusto until [D]
Allegro giusto [E] until 9th bar in [G]

Mussorgsky - Pictures at an Exhibition
Samuel Goldenberg und Schmuyle upper staff: [56] - [58]

Download Audition excerpts viola (pdf)

Cello

Mozart – Symphony No. 41 ‘Jupiter’
Movement IV: bars 46-73

Brahms – Symphony No. 2
Movement II: bars 1-15 and bars 49-55

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
Letter [O] to [R]

Popper – Etude No. 10 (Op. 73)
(Instead of scales)

Download Audition excerpts Cello (pdf)

Double Bass

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
Letter [M] until 19 bars before [Q]

Mussorgsky - Pictures at an Exhibition
Samuel Goldenberg und Schmuyle: [56] - [58]

Download audition excerpts Double Bass (pdf)

Flute

Rossini – Willem Tell Overture
Bar 6 until Allegro Vivace

Mussorgsky - Pictures at an Exhibition
Tuileries: first flute (upper staff)
Bydlo, Promenade: first to bars [46], first fluit (upper balk)

Download Audition excerpts Flute (pdf)

Piccolo

Kodaly – Der Pfau
Andante, poco rubato

Mozart – Die Zauberflöte
Nr. 16, Arie, allegro

Download Audition excerpts Piccolo (pdf) 

Oboe

Beethoven – Symphony No. 3
Movement II: beginning until four bars before letter [B]

Rossini - La scala di seta
Overture: bars 6 - [1]; [2] - [3]

Download Audition excerpts oboe (pdf 

English Horn

Dvořák – Symphony No. 9 'New World'
Movement II: English Horn Solo, excerpt

Download Audition excerpts english horn (pdf 

Clarinet

Beethoven – Symphony No. 6 'Pastorale'
Movement I: bars 418-492

Mussorgsky - Pictures at an Exhibition
Il vecchio castello: 1st clarinet in A (upper staffalk), [28] - [30]
Tuileries: 1ste clarinet in A (upper staff), pickup bar [36] - ending

Download Audition excerpts clarinet (pdf)

Bass clarinet

Mussorgsky - Pictures at an Exhibition
Gnomus: [6] - [8]
Samuel Goldenberg und Schmuyle: [60] - [62]

Download Audition excerpts bass clarinet (pdf)

Saxophone

Mussorgsky - Pictures at an Exhibition
Il vecchio castello: [28] until 1 bar after [25]

Download Audition excerpts saxophone (pdf)

Bassoon

Stravinsky – The Firebird
Andante: bars 1-7

Brahms – Symphony No. 2
Movement II: bar 1-4; bars 19-27; bars 97-100
Movement IV: beginning-bar 5 (2^nd bassoon); bars 13-37; bars 118-135

Beethoven – Violin Concerto
Movement I: bars 18-28; bars 400-403; bars 523-529
Movement II: bars 20-30

Download Audition excerpts bassoon (pdf)

Contrabassoon

Ravel – Ma Mére l'Oye
Movement IV: [4] - ending

Download Audition excerpts contrabassoon (pdf)

Horn

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
1^st horn, [H] - [J]
2^nd horn, [H] - [J]

Mussorgsky - Pictures at an Exhibition
Gnomus: 2^nd horn (lower staff), [11] - [14]
Promenade: 1^st horn
Limoges - Le Marché: 1^st horn (upper staff)

Download audition excerpts (pdf)

Trumpet

Tchaikovsky – Fantasie-ouverture Romeo and Juliet
Fortissimo 9 bars after [E] until [F]

Mussorgsky - Pictures at an Exhibition
Promenade: 1^st trumpet (upper staff), beginning until [2]
Gnomus: 2^d trumpet (lower staff), [14] until [15]
Samuel Goldenberg und Schmuyle: piccolo or trumpet in D (upper staff)
La Grande Porte de Kiev: 1^st trumpet, beginning until [106]

Download audition excerpts Trompet (pdf)

Trombone 

Mozart – Tuba mirum from Requiem
From beginning to the first beat of B

Berlioz – Hungarian March from La damnation de Faust
One bar before [4] - three bars after [5]

Download audition excerpts Trombone (pdf)

Bass trombone

Schumann – Symphony No. 3
Movement IV: bars 1-23

Berlioz – Hungarian March from La damnation de Faust
One bar before [4]  - three bars after [5]

Download audition excerpts Bass trombone (pdf)

Tuba

Wagner – Overture to Die Meistersinger von Nürnberg
Letter [J] - Letter [L]

Respighi – Fontane di Roma
Allegro vivace: rehearsal numbers [11] - [14]

Mussorgsky - Pictures at an Exhibition
Bydlo: preferably on a tenor tuba

Download audition excerpts Tuba (pdf)

Timpani

Beethoven – Symphony No. 9
Movement I: bars 17-86 and bars 513-end

Woud – Timpani solo piece

Download audition excerpts timpani (pdf)

Percussion

Knauer – Etude
For Snare Drum

Shostakovich – The Bolt
For Xylophone

Tchaikovsky – Fantasy Overture Romeo and Juliet, For cymbals
Movement III: excerpt for Triangle

Download audition excerpts percussion (pdf)

Piano

Tchaikovsky – The Nutcracker Suite
Dance of the Sugar Plum Fairy

download audition excerpt piano (pdf)

Harp

Verdi – La Forza del Destino (Overture)
Letter [G] - [H]
Letter [N] - [O]

Tchaikovsky – The Nutcracker Suite
Valse des Fleurs, cadenza

Tchaikovsky – Fantasy Overture Romeo and Juliet,
Letter [I] until 2 bars before [K]

download auditie excerpt harp (pdf)

All candidates applying to Young must record videos complying with the conditions set out below.

• Each performance component must be recorded in one take with no editing. You can, of course, choose to submit the best of more than one take.
• All videos must have been recorded no later than eight months before the end of the application period.
• Successful applicants to Young are not required to use professional equipment and/or studio space. If you pay attention to a few details, you can communicate your way of making music successfully using readily available consumer electronics. Many successful candidates have submitted videos made using an iPhone or other smartphone.
• Watch our video instructions for additional information and suggestions for creating a successful audition recording.

Introduction: before performing your solo selection, please include a spoken introduction in which you state your name, instrument, hometown, and title of the solo work you have chosen.

Solo piece: : The solo piece is preferably the exposition of a classical solo concerto, but can be any work of your choice, or a movement/section of a longer work, provided that it is approximately three minutes in duration. If the piece is longer than three minutes, you may record an excerpt or submit an unedited three-minute section from a longer recording. You may also use a recent solo recording if it meets the Concertgebouworkest Young audition requirements, but please record and upload the spoken introduction separately. A work with piano accompaniment (except if you are applying on percussion) is strongly preferred.

Excerpts:  Each instrument has to play all required orchestral excerpts for their specific instrument.

Scales: please play one major and one minor (harmonic or melodic) scale in any key of your choice with up to four sharps/flats from memory at a comfortable tempo. Each scale should be played twice, once slurred and once separated, using an articulation or bowing of your choice. Violin, viola, and cello applicants should play two or three octaves; bass, wind, and brass applicants should play one or two octaves.

Video essay: you are asked to answer the following questions.

• Young aims to select young talent who could use a little extra support in their musical career. How does this apply (or not) to your situation?
• Young aims to represent the diversity of Europe. How can you help us achieve this goal?
• Young invites Young alumni to become ambassadors for the programme and for classical music in their communities or home countries. What would make you a good ambassador?

Please notice: this video essay should preferably be spoken in English. If that is too difficult, please record it in your own language.

Where possible, we encourage you to keep the following in mind when making the recording.  

1. Consider lighting, framing, and camera placement. Film in a well-lit space, and be sure that there is mostly lighting in front of you (rather than from behind). Place the camera so that you, your instrument, and your full range of motion are in the frame at all times; we should also be able to see both you and your pianist during the accompanied work, if applicable. Choose a medium distance that shows as much detail as possible, while still allowing the image to be framed as described above.
2. Try to place the camera on a tripod or flat surface when shooting.
3. Test the audio level so that there is no distortion during the loudest passages of your selections, while also making sure that the softest portions can still be heard. If possible, consider using an external microphone connected to your camera to record your playing and speaking.
4. Prior to recording your audition video, clean and/or adjust your instrument to be sure it is in the best possible condition. You may wish to ask your music teacher or a professional repair person to look at your instrument to assist with any necessary adjustments.
5. While it is not necessary to use a grand piano for the accompanied segment, please be sure the instrument is in good tune before recording.
6. Other than stopping and starting the camera between segments, no editing of the audio or video is permitted. Applicants whose videos show evidence of any cuts, splicing, manipulation of pitch, or other alteration within a performance segment will be subject to disqualification. Please note the selection of a complete, unedited performance segment out of multiple takes is permissible.