UM1310: Short Stories in Music - First Series

Cover image Orchester Probespiel
Test Pieces for Orchestral Auditions

Ed. Ruth Konhäuser & Helga Storck
Contents: See Contents below
Instrumentation: Pedal Harp
Level: Advanced
Format: 9" x 12" bound score
ISMN: 9790001081443
Publisher: Schott
Edition/Year: 2012
Origin: Germany
Our Ref: UM1335

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  Other music by Helga Storck
  Other music by Ruth Konhauser


Bela Bartok Musik fiir Saiteninstrumente, Schlagzeug und Celesta
  Concerto for Orchestra
Hector Berlioz Symphonie Fantastique op. 14
Benjamin Britten The Young Person's Guide to the Orchestra
Anton Bruckner Sinfonie Nr. 8 c-Moll
Gaetano Donizetti Lucia di Lammermoor
Cesar Franck Sinfonie d-Moll
Hans Werner Henze Ondine
Ruggiero Leoncavallo Der Bajazzo
Pietro Mascagni Cavalleria Rusticana
Maurice Ravel Alborada del Gracioso
  Klavierkonzert G-Dur
Bedfich Smetana Mein Vaterland
Richard Strauss Don Juan op. 20
  Salome op. 54
  Salomes Tanz
  Ein Heldenleben op. 4
Igor Strawinsky Symphony in Three Movements
Ambroise Thomas Mignon
Peter Tschaikowsky Schwanensee op. 20
  Der Nußknacker op. 71
Giuseppe Verdi Ein Maskenball
  Die Macht des Schicksals
Richard Wagner Tannhauser
  Die Meistersinger von Nurnberg
  Tristan und Isolde
  Die Walkure
Carl Maria v. Weber Aufforderung zum Tanz op. 65


Orchester Probespiel
Test Pieces for Orchestral Auditions
Ed. Ruth Konhäuser & Helga Storck


For many years orchestras and conservatories have wanted a practical and easily accessible edition of the orchestral passages required at auditions. An orchestral musician is expected to know and to have mastered not only the solo literature of his instrument but especially the opera and concert repertoire as well. The present edition contains those passages which a musician is expected to have at his or her command before being accepted into an orchestra. Unlike the many existing "orchestral studies", this collection focuses on the material commonly used in auditions. It thus forms a foundation for the practical training of young orchestral musicians, and serves professional musicians as a means of practicing difficult passages.

This project was initiated at the behest of the German Music Council and the German conservatories. It is based on statistical studies carried out by the German Union of Orchestras and on many years of professional experience gained by the editors themselves, all of whom are members of orchestras and conservatory staffs.

The following editorial principles underlie the entire series: The original text of the music and the original metronome marks have been taken over without modification; editorial additions are enclosed in square brackets. Measure numbers and rehearsal numbers or letters have been included from the orchestral material. Cuts at the beginning, middle or end of a passage are indicated by intervening slashes.

It goes without saying that the passages included here should always be viewed in the overall context of the piece in question. To augment these studies we strongly advise studying the scores and listening to the music.

C. F. Peters, Frankfurt B. Schott's Sohne, Mainz

Editor's Preface

The present collection contains the most common audition pieces for harp which were suggested and discussed in consultation with harpists of renowned orchestras and the "Vereinigung Deutscher Harfenisten e.V." (registered society of German harpists). Passages for two harps in the operatic literature have been omitted as in orchestras with two harpists these are usually coordinated. Pedalling has been omitted, occasionally (e. g. in "Salome's Dance" by R. Strauss) in favour of clarity and the individuality of the player. With regard to the works by Richard Wagner, it is noteworthy that his writing is not always suited to the instrument. There is evidence that Wagner approved of stylistically appropriate arrangements (similarly Strauss and Tchaikovsky).

A word to those responsible for harp auditions: before the performance, please bear in mind that the harpist, as a rule, must play an unfamiliar instrument; quite on the contrary to all other instrumentalists, who always bring their own best instrument to an audition. Harps are built differently. The sound box may be wide or narrow, above all the seven pedals are often adjusted differendy on each instrument. As a result it is sometimes difficult to play a passage with much pedal movement - e.g. "Feuerzauber" by Wagner or "Tzigane" by Ravel - at the first attempt on the audition instrument. A suitable practice time is therefore recommended. Concerning the performance of the solo pieces, it should be considered that the artistic standard of the candidate will be better displayed if either the concerto or the solo piece may be chosen freely; so only one piece should be set. The freely chosen work should, however, belong to a different stylistic period.

Example 1: set piece: Mozart concerto
free choice: solo work from another period, e. g. Hindemith sonata, Faure impromptu or Spohr fantasy

Example 2: set piece: Hindemith sonata
free choice: concerto from another period, e. g. Handel concerto (original), Debussy Danses or the Mozart concerto

Editors Ruth Konhauser and Helga Storck

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