Applicants must submit a prescreening recording along with their Conservatory application by December 1. Prescreening and final audition requirements can be found below. Prescreening recordings must include both audio and video.
SPRING 2026 AUDITION DATES
Auditions for the Graduate Instrumental Arts Program will be held on the following dates:
All final auditions are by invitation only, and shortlisted applicants will receive an invitation to either schedule an audition or submit new recordings by mid-January.
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Live In-Person AuditionsFebruary 8
Oboe, Piano, Tuba, Violin
February 13
Flute
February 20
Percussion
February 22
Bass, Bassoon, Harp, Horn, Trombone, Viola, Violin
February 27
Cello, Clarinet, TrumpetLive In-Person Auditions
February 8
Oboe, Piano, Tuba, Violin
February 13
Flute
February 20
Percussion
February 22
Bass, Bassoon, Harp, Horn, Trombone, Viola, Violin
February 27
Cello, Clarinet, Trumpet
Q: Will there be space for me to warm up before my audition?
A: Yes, we will have practice rooms reserved for everyone auditioning.
Q: Who listens to the auditions?
A: The audition panel is made up of Bard Conservatory faculty members.
Q: Is an accompanist provided for the audition?
A: We do not provide an accompanist for in-person auditions at Bard. While you are welcome to bring an accompanist, most applicants play their audition unaccompanied.
Q: What should I wear?
A: We recommend wearing clothes that are comfortable to play in and that are also appropriate for a conservatory audition, i.e. a nice shirt and pants/skirt or dress. There is no need for formal concert attire.
Q: Will I have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting.
Q: Is one of the audition types weighed more heavily?
A: Equal consideration is be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live in-person or live-remote audition. -
Live Remote AuditionsFebruary 16
Bass, Bassoon, Cello, Clarinet, Flute, Horn, Oboe, Percussion, Piano, Trombone, Trumpet, Tuba, Viola, Violin
February 22
HarpLive Remote Auditions
February 16
Bass, Bassoon, Cello, Clarinet, Flute, Horn, Oboe, Percussion, Piano, Trombone, Trumpet, Tuba, Viola, Violin
February 22
Harp
Q: Do I need to perform with an accompanist?
A: No. We do not require any instrumental audition to be performed with an accompanist.
Q: I am a pianist. What can I do if I do not have access to a high quality piano?
A: We will not exclude anyone auditioning due to the quality of their instrument. Upright pianos, slightly out of tune pianos, and keyboards with weighted keys are acceptable.
Q: I do not have access to any high quality recording equipment. Is this a problem?
A: While external microphones do enhance the sound quality of recordings, you do not need any high quality recording equipment for your pre-screening or final audition recordings. The audition committee will certainly accept recordings made on your mobile device or laptop, as long as you can be clearly seen and heard.
Q: What if I do not have a stable internet connection or a quiet space to hold my audition?
A: If you are concerned about the stability of your internet connection or household interruptions, you may submit a recorded final audition in conjunction with a virtual interview with faculty via Zoom. If you do opt to perform a live-remote audition and your internet connection is unstable, this is okay--we understand that this is a risk and there will be no penalty.
Q: What should I wear?
A: We recommend wearing clothes that are comfortable to play in and that are also appropriate for a conservatory audition, i.e. a nice shirt and pants/skirt or dress. There is no need for formal concert attire.
Q: When will I be notified about my pre-screening results?
A: Pre-screening recordings will be reviewed during the first two weeks of January. You should expect to hear from the Conservatory admissions office by mid-January with your pre-screening results. You will be able to schedule your final audition with our faculty at this time, as well.
Q: Will I still have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting. -
Recorded AuditionsAll applicants who choose to submit a final audition recording will receive instructions for how to upload your new videos to the applicant portal. Only video recordings will be accepted for the final round, and applicants must include all required final audition repertoire. Final audition video recordings are due on Monday, February 9.
Equal consideration will be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live in-person or live-remote audition.Recorded Auditions
All applicants who choose to submit a final audition recording will receive instructions for how to upload your new videos to the applicant portal. Only video recordings will be accepted for the final round, and applicants must include all required final audition repertoire. Final audition video recordings are due on Monday, February 9.
Equal consideration will be given to applicants who choose to submit a recorded audition and applicants who choose to schedule a live in-person or live-remote audition.
Q: I do not have access to any high quality recording equipment. Is this a problem?
A: While external microphones do enhance the sound quality of recordings, you do not need any high quality recording equipment for your pre-screening or final audition recordings. The audition committee will certainly accept recordings made on your mobile device or laptop, as long as you can be clearly seen and heard.
Q: Should all selections for my final audition be recorded in one take?
A: Each selection for your final audition may be recorded separately. Please begin each selection by introducing the piece and the date it was recorded. All tracks should be unedited.
Q: When are final audition recordings due?
A: Final audition recordings should be uploaded to your application portal by February 9. If you are granted a final audition and interview, you will receive instructions for uploading your final audition recording.
Q: Will I still have the chance to meet with faculty and have trial lessons?
A: Yes! We highly encourage meeting with a faculty member. Please contact us at [email protected] to set up a meeting.
International Auditions
All auditions in China and Budapest will serve as the pre-screening round of auditions. Following a successful pre-screening audition, applicants will be invited to complete an application.
Auditions in China will be held in Hong Kong on November 14, in Shenzhen on November 15, in Shanghai on November 16, and in Beijing on November 22.
Register For An Audition In China
Auditions in Budapest, Hungary will be held on November 22, 2025 at Tóth Aladár Zeneiskola.
Register For An Audition In Hungary
Register For An Audition In China
Auditions in Budapest, Hungary will be held on November 22, 2025 at Tóth Aladár Zeneiskola.
Register For An Audition In Hungary
Bassoon
Pre-screening Requirements:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- A work of your choice
Clarinet
Pre-screening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- 2 orchestral excerpts of your choice (example, Beethoven - Symphony No. 6, Mendelssohn - Scherzo from Midsummer Night's Dream)
- A work of your choice
Cello
Pre-screening Repertoire:
- A movement from an unaccompanied Bach suite
- A movement of a concerto
- A work of your choice
- Two contrasting movements from an unaccompanied Bach suite
- A movement of a standard concerto
- A movement of a sonata
- A work of your choice
Double Bass
Pre-screening Repertoire:
- An étude
- Two contrasting sonata movements
- A work of your choice
- A movement of solo Bach (6 cello suites) of your choice
- A work of your choice
- Two contrasting orchestral excerpts
Flute
Pre-screening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An etude
- A concerto movement
- A 20th-century work
- A work of your choice
Harp
Pre-screening Repertoire:
Two pieces of the following level of difficulty:
1. Two contrasting solos of the following level of difficulty:
Two pieces of the following level of difficulty:
- Bach/Grandjany études
- Marcel Tournier: Feerie
- Nina Rota: Sarabande and Toccata
- Handel: Concerto in B-Flat Major
1. Two contrasting solos of the following level of difficulty:
- Handel: Concerto in B-flat Major
- Faure: Impromptu
- Britten: Suite for Harp
- Wagner: Liebestod
- Berlioz: Symphonie Fantastique
- Ravel: Tzigane
- Britten: Young Person's Guide to the Orchestra
- Stravinsky: Symphony in 3 Movements, 2nd mvt
Horn
Pre-screening and Final Audition Repertoire:
- An étude
- A concerto movement
- Wagner: Short Call from Siegfried's Rheinfahrt
- Ravel: Pavane pour une infante défunte
- Shostakovich: Low tutti from Symphony No. 5 (1st movement)
- Brahms: Symphony No. 3 (3rd movement)
- Strauss: Ein Heldenleben (opening)
Oboe
Pre-screening Repertoire:
- An étude
- A concerto movement
- A work of your choice
- An étude
- A concerto movement
- A 20th-century work
- A work of your choice
Percussion
Pre-screening Repertoire:
- Marimba: Mallet solo (5-12 minutes)
- Timpani: An étude of choice. The following are recommended: Elliott Carter Eight Pieces for Solo Timpani, Richard Hochrainer Etuden Für Timpani, Jacques Delecluse Vingt Etudes
- Snare Drum: An étude of choice. The following are recommended: Cirone Portraits in Rhythm, Delecluse Douze Etudes, Smith Publications' The Noble Snare Collection
- Something Else (optional): Send us something else that makes you a unique musician. Possibilities could include orchestra excerpts, steel drum playing, multiple percussion solo, drumset, even another instrument
- Marimba:
- Four mallet solo (5-12 minutes in length)
- Two mallet solo (transcription of J.S. Bach or other substantial work)
- Two mallet sight-reading may be asked at live audition
- Timpani:
- An étude of choice. The following are recommended: Elliott Carter Eight Pieces for Solo Timpani, Richard Hochrainer Etuden Für Timpani, Jacques Delecluse Vingt Etudes
- Interval knowledge and basic tuning may be examined
- Snare Drum:
- An étude of choice. The following are recommended: Cirone Portraits in Rhythm, Delecluse Douze Etudes, Smith Publications' The Noble Snare Collection
- Sight-reading may be asked
- Chamber Music:
- Candidate will be asked to sight-read an excerpt from the chamber music repertoire with members of the percussion faculty. Music and instruments will be provided
- Something Else (optional): Please feel welcome to bring in something else that makes you a unique musician. Possibilities could include orchestra excerpts, steel drum playing, multiple percussion solo, drumset, even another instrument.
Piano
Pre-screening Repertoire:
- A work by J. S. Bach
- A movement of a classical sonata
- A movement or work from the romantic era
- A work by J. S. Bach
- A movement of a classical sonata
- A movement or work from the romantic era
- A work composed in the 20th or 21st century
- A work of your choice
Trombone
Pre-screening Repertoire:
- An étude
- A concerto or sonata movement
- A work of your choice
- An etude
- A concerto or sonata movement
- A 20th-century work
- A work of your choice
Trumpet
Pre-screening Repertoire:
- An étude
- A concerto or sonata movement
- A work of your choice
- An étude
- A concerto or sonata movement
- A 20th-century work
- A work of your choice
Tuba
Pre-screening Repertoire:
An étude
A concerto or sonata movement
A work of your choice
Final Audition Repertoire:
An étude
A concerto or sonata movement
A 20th-century work
A work of your choice
An étude
A concerto or sonata movement
A work of your choice
Final Audition Repertoire:
An étude
A concerto or sonata movement
A 20th-century work
A work of your choice
Viola
Pre-screening Repertoire:
Final Repertoire:
- A movement from an unaccompanied Bach suite (originally for cello) or partita or sonata (originally for violin)
- A sonata or concerto movement
- A work of your choice
Final Repertoire:
- Two contrasting movements from an unaccompanied Bach suite (originally for cello) or partita or sonata (originally for violin)
- A concerto movement or étude
- A movement of a sonata
- A work of your choice
Violin
Pre-screening Repertoire:
- A movement from an unaccompanied Bach partita or sonata
- A movement of a standard concerto
- A work of your choice
- Two contrasting movements from an unaccompanied Bach partita or sonata
- A complete standard concerto
- A movement of a sonata
- A work of your choice