Audition

Instrumental Fellowship Audition Requirements

Applicants submit prescreening video materials through the NWS Acceptd application portal.
NWS auditions annually for the orchestral instruments listed below.
Openings vary from season to season because fellowship vacancies can change.
Applicants advanced from the video round will be invited to a live/live-virtual audition and interview.
Degree requirements and eligibility details available on the Application FAQ page.

Video Guidelines

Prescreening videos should be no longer than 10-12 minutes. If needed, applicants may stop the solo passage sooner.
Record the required solo and excerpts unaccompanied in one continuous take. Do not pause, edit or splice together multiple recordings.
Use a single camera angle that shows the applicant's full body for the entire performance.
Choose a quiet space and position the microphone to avoid distortion. When in doubt, prioritize audio clarity over video quality.
Watch the recording from start to finish before submitting.
If the video appears edited, the audition may be disqualified.

Instrumental Fellowship Audition Requirements and Repertoire

Video Round / Prescreening
Solos:
- Mozart Concerto (1st movement exposition)
- A concerto or solo piece of your choice (exposition)
Excerpts:
- Debussy: La Mer – 2nd Mvt., 33 to 6 after 38
- Schumann: Symphony No. 2 – 2nd Mvt., beginning to m. 77 (no repeat)
- Mahler: Symphony No. 1 – 4th Mvt., Reh. 16 to 19
Live Audition Round
Solos:
- Mozart Concerto (1st movement exposition)
- A concerto or solo piece of your choice (exposition)
Excerpts:
- Beethoven: Symphony No. 9 – 3rd Mvt., ms. 99 to 114
- Brahms: Symphony No. 4 – 4th Mvt., 8 before B to D
- Debussy: La Mer – 2nd Mvt., 33 to 6 after 38
- Mahler: Symphony No. 1 – 4th Mvt., Reh. 16 to 19
- Mendelssohn: A Midsummer Night’s Dream – Scherzo, first page
- Schumann: Symphony No. 2 – 2nd Mvt., beginning to m. 77 (no repeat)
- Strauss: Don Juan – beginning to D
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Strauss: Don Juan – beginning to D
- Brahms: Haydn Variations – Variation V
- Bruckner: Symphony No. 4 – 2nd Mvt., ms. 51 to 83
Live Audition Round
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Brahms: Haydn Variations – Variation V
- Brahms: Symphony No. 4 – 4th Mvt., B to D
- Bruckner: Symphony No. 4 – 2nd Mvt., ms. 51 to 83
- Mendelssohn: A Midsummer Night’s Dream – Scherzo, first page
- Mozart: Symphony No. 35 – 4th Mvt., ms. 134 to 181
- Strauss: Don Juan – beginning to D
- Shostakovich: Symphony No. 5 – 1st Mvt., 15 to 17
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Mozart: Symphony No. 35 – 4th Mvt., ms. 134 to 181
- Strauss: Don Juan – 7 before G to H (top line)
- Mahler: Symphony No. 5 – 2nd Mvt., 12 after Reh. 11 to Reh. 13
Live Audition Round
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Beethoven: Symphony No. 5 – 2nd Mvt., beginning to C (theme and two variations)
- Brahms: Symphony No. 2 – 2nd Mvt., beginning to A
- Debussy: La Mer – 1st Mvt., 2 before 9 to 6 before 10
- Mahler: Symphony No. 5 – 2nd Mvt., 12 after Reh. 11 to Reh. 13
- Mozart: Symphony No. 35 – 4th Mvt., ms. 134 to 181
- Strauss: Don Juan – 7 before G to H (top line)
- Tchaikovsky: Symphony No. 4 – 2nd Mvt., 21 before A to A
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Beethoven: Symphony No. 5 – 3rd Mvt., beginning to 5 after A & Trio to 23 after B
- Verdi: Otello – Act IV soli
- Brahms: Symphony No. 2 – 1st Mvt., E to F
Live Audition Round
Solos:
- One movement of solo Bach (no repeats)
- Exposition of a standard repertoire concerto movement
Excerpts:
- Beethoven: Symphony No. 5 – 3rd Mvt., beginning to 5 after A & Trio to 23 after B
- Brahms: Symphony No. 2 – 1st Mvt., E to F
- Haydn: Symphony No. 31 – 4th Mvt., Variation VII
- Mahler: Symphony No. 2 – 1st Mvt., beginning to Reh. 2
- Mozart: Symphony No. 35 – 4th Mvt., ms. 134 to 181
- Strauss: Ein Heldenleben – 9 to 6 measures after 12
- Verdi: Otello – Act IV soli
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Mozart Concerto in G or D – 1st movement exposition
Excerpts:
- Saint-Saëns: Carnival of the Animals – “Volière”
- Brahms: Symphony No. 4 – 4th Mvt., 13 after D to 8 before E
- Stravinsky: The Firebird Suite – Variation of the Firebird
- Debussy: Prélude à l’après-midi d’un faune – opening & 2–3
Live Audition Round
Solos:
- Mozart Concerto in G or D – 1st movement exposition
Excerpts:
- Beethoven: Leonore Overture No. 3 – mm. 328 to 360
- Brahms: Symphony No. 4 – 4th Mvt., 13 after D to 8 before E
- Debussy: Prélude à l’après-midi d’un faune – opening & 2–3
- Hindemith: Symphonic Metamorphosis – 3rd Mvt., 5 before C to end
- Mendelssohn: A Midsummer Night’s Dream – Scherzo, end of the movement solo
- Ravel: Daphnis and Chloë, Suite No. 2 – mm. 176 to 179
- Saint-Saëns: Carnival of the Animals – “Volière”
- Stravinsky: The Firebird Suite – Variation of the Firebird
- Stravinsky: Petrouchka – beginning to 2 measures after 7
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Strauss: Don Juan – L to N
- Beethoven: Symphony No. 7 – 3rd Mvt., ms. 63 to 106
- Schubert: Symphony No. 9 – 2nd Mvt., ms. 8 to A
- Stravinsky: Pulcinella – Gavotte and Variation (no repeats)
Live Audition Round
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Beethoven: Symphony No. 7 – 3rd Mvt., ms. 63 to 106
- Brahms: Violin Concerto – 2nd Mvt., beginning to m. 32
- Debussy: La Mer – 2nd Mvt., 17 to 19 & 34 to 35
- Mendelssohn: Symphony No. 3 – 2nd Mvt., A to D
- Ravel: Le Tombeau de Couperin – Prélude opening
- Rossini: Overture to La Scala di Seta – beginning to 3
- Schubert: Symphony No. 9 – 2nd Mvt., ms. 8 to A
- Strauss: Don Juan – L to N
- Stravinsky: Pulcinella – Gavotte and Variation
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Beethoven: Symphony No. 4 – 2nd Mvt., F to 7 before G
- Prokofiev: Peter and the Wolf – sections 20 to 21
- Mendelssohn: A Midsummer Night’s Dream – Scherzo opening passage
- Beethoven: Symphony No. 6 – 2nd Mvt., D to E
Live Audition Round
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Beethoven: Symphony No. 4 – 2nd Mvt., F to 7 before G
- Beethoven: Symphony No. 6 – 2nd Mvt., D to E
- Beethoven: Symphony No. 8 – 3rd Mvt., Trio
- Brahms: Symphony No. 3 – 2nd Mvt., beginning to B
- Mendelssohn: A Midsummer Night’s Dream – Scherzo opening passage
- Prokofiev: Peter and the Wolf – sections 20 to 21
- Rachmaninov: Symphony No. 2 – 3rd Mvt., opening to 2 after 47
- Respighi: Pini di Roma – 3rd Mvt. solo
- Rimsky-Korsakov: Capriccio espagnol – 1st Mvt., A to B & C-end; 3rd Mvt., 11 after K to end
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Stravinsky: Le Sacre du Printemps – beginning to 3 after 3
- Berlioz: Symphonie fantastique – 4th Mvt., 15 before 51 to 53
- Rimsky-Korsakov: Scheherazade – 2nd Mvt., m. 5 to A & L to M
- Tchaikovsky: Symphony No. 6 – 1st Mvt., first 12 bars
Live Audition Round
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Berlioz: Symphonie fantastique – 4th Mvt., 15 before 51 to 53
- Mozart: Overture to Le Nozze di Figaro – ms. 139 to 171
- Ravel: Boléro – mm. 2 to 3
- Ravel: Piano Concerto in G – 3rd Mvt., mm. 14 to 16
- Rimsky-Korsakov: Scheherazade – 2nd Mvt., m. 5 to A & L to M
- Shostakovich: Symphony No. 9 – 4th Mvt., beginning to A in 5th Mvt.
- Stravinsky: Le Sacre du Printemps – beginning to 3 after 3
- Tchaikovsky: Symphony No. 4 – 2nd Mvt., last 31 bars
- Tchaikovsky: Symphony No. 6 – 1st Mvt., first 12 bars
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Bruckner: Symphony No. 4 – Movement I: beginning to [A]
- Strauss: Ein Heldenleben – beginning to 5 after 1
- Beethoven: Symphony No. 3 – 3rd Mvt., Trio (2nd horn)
- Beethoven: Symphony No. 9 – 3rd Mvt., ms. 82–98 (4th horn)
Live Audition Round
Solos:
- Mozart Concerto – 1st movement exposition
Excerpts:
- Beethoven: Symphony No. 3 – 3rd Mvt., Trio (2nd horn)
- Beethoven: Symphony No. 9 – 3rd Mvt., ms. 82–98 (4th horn)
- Brahms: Symphony No. 3 – 3rd Mvt., F to G
- Bruckner: Symphony No. 4 – opening solo
- Ravel: Piano Concerto in G – 1st Mvt., mm. 25 to 26
- Shostakovich: Symphony No. 5 – 1st Mvt., mm. 17 to 21
- Strauss: Ein Heldenleben – beginning to 5 after 1
- Strauss: Till Eulenspiegel – beginning to 1
- Wagner: Götterdämmerung – Short call
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Haydn Concerto – 1st movement exposition and 2nd movement opening to m. 27
Excerpts:
- Shostakovich: Symphony No. 5 – 1st Mvt., mm. 27 to 29
- Strauss: Don Juan – F to G
- Ravel: Piano Concerto in G – 1st Mvt., mm. 2 to 3 & 36 to end
- Schumann: Symphony No. 2 – 1st Mvt., first 13 bars (2nd trumpet)
Live Audition Round
Solos:
- Haydn Concerto – 1st movement exposition and 2nd movement opening to m. 27
Excerpts:
- Mahler: Symphony No. 5 – 1st Mvt., beginning to 6 after 1
- Mahler: Symphony No. 7 – 4th Mvt., pickup to 4 before 224 to 3 after 229
- Mussorgsky/Ravel: Pictures at an Exhibition – Promenade, beginning to 2
- Ravel: Piano Concerto in G – 1st Mvt., mm. 2 to 3 & 36 to end
- Respighi: Pini di Roma – offstage solo, 8 after 10
- Schumann: Symphony No. 2 – 1st Mvt., first 13 bars (1st & 2nd trumpets)
- Shostakovich: Symphony No. 5 – 1st Mvt., mm. 27 to 29
- Strauss: Don Juan – F to G
- Stravinsky: Petrouchka (1947) – 1 before 134 to 139
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- David or Grondahl Concerto – 1st movement exposition
Excerpts:
- Mahler: Symphony No. 3 – 1st Mvt., mm. 13–17
- Rossini: Overture to William Tell – first entrance, 40 measures after start
- Strauss: Also sprach Zarathustra – mm. 6 after 50 to 53
- Stravinsky: Pulcinella – Duetto
Live Audition Round
Solos:
- David or Grondahl Concerto – 1st movement exposition
Excerpts:
- Berlioz: Hungarian March (Rakoczy) – 6 before 4 to 5 (2nd trombone)
- Mahler: Symphony No. 3 – 1st Mvt., mm. 13–17
- Mozart: Requiem – Tuba Mirum
- Ravel: Boléro – mm. 10 to 11
- Rossini: Overture to William Tell – first entrance, 40 measures after start
- Strauss: Ein Heldenleben – mm. 60 to 65 (2nd trombone)
- Strauss: Also sprach Zarathustra – mm. 6 after 50 to 53
- Stravinsky: Pulcinella – Duetto
- Wagner: Ride of the Valkyries – major excerpt
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Lebedev: Concerto in One Movement – beginning to m. 54
Excerpts:
- Rossini: Overture to La Gazza Ladra – ms. 115 to 132 & ms. 433 to 442
- Wagner: Das Rheingold – Scene 4, Entrance of the Gods into Valhalla: ms. 1–15
- Mahler: Symphony No. 7 – 6 after 42 to 44
- Strauss: Ein Heldenleben – mm. 61 to 65
Live Audition Round
Solos:
- Lebedev: Concerto in One Movement – beginning to m. 54
Excerpts:
- Haydn: The Creation – No. 26, beginning to C
- Kodály: Háry János Suite – 4th Mvt.
- Mahler: Symphony No. 7 – 6 after 42 to 44
- Respighi: Fontane di Roma – mm. 11 to 14
- Rossini: Overture to La Gazza Ladra – ms. 115 to 132 & ms. 433 to 442
- Schumann: Symphony No. 3 – 4th Mvt., beginning to 13 after A
- Strauss: Ein Heldenleben – mm. 61 to 65
- Wagner: Das Rheingold – Scene 4, Entrance of the Gods into Valhalla
- Wagner: Lohengrin – Introduction to Act III, B to C
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Vaughan Williams: Concerto for Bass Tuba – 1st movement exposition and cadenza
Excerpts:
- Prokofiev: Symphony No. 5 – 1st Mvt., mm. 3 to 6
- Respighi: Fontane di Roma – mm. 11 to 14
- Stravinsky: Petrouchka (1947) – mm. 189 to 191
- Mahler: Symphony No. 1 – 3rd Mvt., 4 before 3 to 4 (four measures of held D)
Live Audition Round
Solos:
- Vaughan Williams: Concerto for Bass Tuba – 1st movement exposition and cadenza
Excerpts:
- Berlioz: Hungarian March (Rakoczy) – mm. 4 to 5
- Berlioz: Overture to Le Corsaire – mm. 5 to 6 & mm. 12 to 13
- Hindemith: Symphonic Metamorphosis – 2nd Mvt., 4 before M to P
- Mahler: Symphony No. 5 – Scherzo: 13 before 16 to 17
- Mussorgsky/Ravel: Pictures at an Exhibition – “Bydło” solo
- Prokofiev: Symphony No. 5 – 1st Mvt., mm. 3 to 6
- Respighi: Fontane di Roma – mm. 11 to 14
- Stravinsky: Petrouchka (1947) – mm. 189 to 191
- Wagner: Ride of the Valkyries
- Wagner: Die Meistersinger von Nürnberg – mm. 158-188 (J-L)
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- Händel: Concerto in B-flat – 1st movement exposition
- Solo piece of your choice (2–3 minutes)
Excerpts:
- Britten: The Young Person’s Guide to the Orchestra – Variation I & Fugue, I to end
- Mahler: Symphony No. 5 – Adagietto, opening to 3
- Stravinsky: Symphony in Three Movements – 2nd Mvt., mm. 117 to 125
Live Audition Round
Solos:
- Händel: Concerto in B-flat – 1st movement exposition
- Solo piece of your choice (2–3 minutes)
Excerpts:
- Bartók: Concerto for Orchestra – 4th Mvt., ms. 42–58
- Berlioz: Symphonie fantastique – “Un Bal”
- Britten: The Young Person’s Guide to the Orchestra – Variation I & Fugue, I to end
- Donizetti: Lucia di Lammermoor – Act I cadenza
- Mahler: Symphony No. 5 – Adagietto, opening to 3
- Ravel: Tzigane – mm. 4 to 5
- Stravinsky: Symphony in Three Movements – 2nd Mvt., mm. 117 to 125
- Verdi: Overture to La Forza del Destino
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.
Video Round / Prescreening
Solos:
- A Beethoven sonata – one movement exposition
- A contrasting Romantic virtuoso piece (2–3 minutes)
Excerpts:
- Copland: Appalachian Spring – mm. 6 to 14
- Stravinsky: Petrouchka (1947) – mm. 64 to 81
Live Audition Round
Solos:
- A Beethoven sonata – one movement exposition
- A contrasting Romantic virtuoso piece (2–3 minutes)
Excerpts:
- Copland: Appalachian Spring – mm. 6 to 14
- Stravinsky: Petrouchka (1947) – mm. 64 to 81
Discretionary Excerpt (for live auditions ONLY):
Applicants advanced to the live/live-virtual round will select one discretionary excerpt that reflects who they are as an artist. This may highlight something musical, technical or personal about the applicant's playing.
The discretionary excerpt may be an orchestral or solo excerpt of typical audition length. It should showcase something essential about the applicant's playing or artistic identity.

Special notice for foreign nationals

To substitute with NWS, musicians must already be authorized to work in the U.S., such as through a Green Card, O-1 or F-1 with CPT/OPT authorized by their school. NWS does not petition visas for substitute work.

Instrumental Fellowship Audition Requirements

Video Guidelines

Instrumental Fellowship Audition Requirements and Repertoire

Violin

Viola

Cello

Bass

Flute

Oboe

Clarinet

Bassoon

Horn

Trumpet

Trombone

Bass Trombone

Tuba

Harp

Piano

Special notice for foreign nationals