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Admission Examinations – Requirements 2016/2017PROGRAMME - CHOIR CONDUCTINGCHOIR CONDUCTING (FROM MEMORY)Conduct one of three prepared a capella choir songs (one of these must be an original composition or folk song arrangement by a Latvian composer);Conduct a large scale piece or its movement;Play scores of two a capella songs and large scale piece (introduction and interludes performed by applicant, choir accompaniment – by accompanist);Sing all voices of one a capella song and the leading voice of the large scale piece (all other choir voices from score).COLLOQUIUM IN CHOIR CONDUCTING AND PIANOTheory ComponentAll applicants analyse the pieces performed in Choir Conducting examination:Provide insight into the oeuvre of the particular composer;Provide insight into the biographies of the authors of lyrics;Analyse the characteristic means of musical expression employed in these pieces.All applicants answer to two of the following questions, selected by drawing lots:Development of Latvian choir conducting traditions and the first notable conductors;Significant stages of historical development of the Latvian Song Festival tradition;Jurjānu Andrejs, his oeuvre, folklorist’s activities, principles of folk song arrangements, original choir songs;The personality of Jāzeps Vītols within the context of Latvian professional music development. Compositions for choir by Jāzeps Vītols (a capella choir songs, vocal instrumental pieces);Choir music by Emīls Dārzi??;The role of Emilis Melngailis in Latvian music. Principles of Latvian folk song arrangements, original compositions for choir;Vocal instrumental compositions by Alfrēds Kalni??;Choir music by Pēteris Barisons and Jānis Zālītis, style characteristics in choir pieces;Latvian choir music composers and Song festival traditions in exile;Notable contemporary Latvian choir music composers, significant compositions;Notable events of Latvian music life in 2015/2016. Practice ComponentApplicants prove their piano playing skills, performing from memory two pieces of contrasting character.COLLOQUIUM IN MUSIC LITERATURE AND THEORY (SOLFEGGIO, HARMONY, FORM)Colloquium in Music Literature and Theory (solfeggio, harmony, form) tests knowledge and skills in two main disciplines – music literature and music theory. The overall assessment of applicant’s musical and theoretical aptitude is based on the average mark derived from the written and oral sections of the colloquium. The first part of the colloquium includes written tests, the second part – oral tests.Music Literature:Writing: ten examples of music must be recognized from recordings (composer, piece, specific musical theme). Two examples from each group of genres will be requested. The list of music examples:ComposerPieceI VOCAL INSTRUMENTAL (SYMPHONIC) AND OPERA MUSICJ.S. Bach? Matthew’s Passion: introductory choir Kommt, ihr T?chter; alto aria Erbarme dichG.F. Handel? Oratorio Messiah: choir Hallelujah; soprano aria I know that my Redeemer livethJ. Haydn? Oratorio The Seasons: [Spring] Choir Komm, holder Lenz K.V. Gluck? Opera Orfeo ed Euridice: Choir of Furies Chi mai dell` Erebo / Quel est l`audaciex and dance (Act 2), flute melody (Act 2.), Orfeo’s aria Che farò senza Euridice (Act 3)W.A. Mozart? Requiem: Kyrie eleison; Dies irae, Lacrimosa? Opera The Marriage of Figaro: Overture, Figaro’s aria Non più andrai (Act 1)? Opera Don Giovanni: duettino of Don Giovanni and Zerlina Là ci darem la mano (Act 1)R. Wagner? Opera Lohengrin: Introduction of Act 1 and Act 3; Lohengrin’s story of the Holy Grail In fernem Land? Overture to opera Tannhauser G. Verdi? Opera La Traviata: Violetta’s scene and aria E strano! → Ah fors’ è lui che l’anima (Act 1)? Opera Aida: Triumph March (Act 2, Scene 2), final duet O terra, addio (Aida & Radames, Act 4)P. Tchaikovsky? Opera Eugene Onegin: Tatiana’s letter scene Пускай погибну я (Act 2)M. Mussorgsky? Opera Boris Godunov: choir Уж как на небе солнцу красному cлава from prologue G. Bizet? Opera Carmen: Habanera (Act 1), Seguidilla Près des remparts de Séville (Act 1)G. Puccini? Opera La Boheme: Mimi’s tale Mi chiamano Mimi (Act 1)Jurjānu Andrejs? Cantata Tēvijai – main themesJāzeps Vītols? Ballad Beverīnas dziedonis – main themesAlfrēds Kalni??? Opera Ba?uta: Ba?uta’s tale (ballade, Act 1; Mourning choir Vaimanā, vaimanā tēvija (2.cēl.), duet of Ba?uta and Vi?uts from Act 3)Jānis Medi??? Opera Uguns un nakts, Spīdola’s aria Es esmu es!Lūcija Garūta? Cantata Dievs, tava zeme deg!: Mūsu tēvs debesīsArturs Maskats? Lacrimosa for mixed choir, organ and string orchestraMārti?? Brauns? Saule, Pērkons, Daugava for mixed choir with orchestraII SYMPHONIC MUSICJ. Haydn? London Symphony No. 103 Es dur (with timpani tremolo) – main themes of each movementW.A. Mozart? Symphony [No. 40] g moll – main themes of each movement L. van Beethoven? Symphony No.3 – main themes of I movement ? Symphony No.5 c moll – main themes of each movement? Symphony No.9 – IV movement, theme Freude, sch?ner G?tterfunkenF. Schubert? Symphony in h moll (Unfinished) – main themes of each movement F. Mendelssohn Bartoldi? Violin Concerto e moll op. 64 – main themes of I movement H. Berlioz? Fantastic Symphony op. 14 – main themes of each movementJ. Brahms? Symphony No.4 e moll op. 98 – main themes of I, IV movementsP. Tchaikovsky? Symphony No.6 h moll – main themes of each movementA. Dvorak? Symphony No.9 e moll op. 95 – main themes of I, II, IV movementsG. Mahler? Symphony No.1 D dur – main themes of I, III movementsF. Liszt? Symphonic poem Preludes – main themesE. Grieg? Piano Concerto a moll op.16 – main themes of I movementSuite Peer Gynt: Solveig’s Song, In the Hall of the Mountain KingN. Rimsky-Korsakov? Symphonic suite Scheherazade – main theme of I movementA. Scriabin? Poema d’Extase for symphonic orchestra – self-affirmation themeS. Rachmaninov? Piano Concerto No.2 c moll op. 18 – main themes of each movementJ. Sibelius? Violin Concerto d moll op. 47 – main theme of I?movementM. Ravel? Bolero for symphony orchestraD. Shostakovich? Symphony No.5 d moll op. 47 – main themes of I movement ? Symphony No.15 - main themes of I movementS. Prokofiev? Symphony No.1 – main themes of I, III movementsI. Stravinsky? Ballet Petrushka: Russian Dance A. Berg? Violin Concerto – main theme of movement I (seria), Theme of Bach’s chorale Es ist genugW. Lutoslawski? Livre pour orchestre – main theme of movement IJurjānu Andrejs? Latvju dejas – dances I, IIIJānis Ivanovs? Symphony No.4. Atlantīda – main themes of I, II movementsRomualds Kalsons? Violin Concerto – main themes of I, III movements? Kāzu dziesma Nr. 5 for symphonic orchestraPēteris Vasks? Musica dolorosa for string orchestra – main themesIII INSTRUMENTAL CHAMBER MUSICJ. S. Bach? Chromatic Fantasy and Fugue d moll (BWV 903) – main themesW. A. Mozart? Piano Sonata A dur KV 331. – main themes of I, III movementsL. van Beethoven? Piano Sonata No.23 f moll op. 57 (Appassionata) – main themes of each movementF. Chopin? Ballade No.1 g moll op. 23 – main themesR. Schumann? Piano cycle Carnaval op. 9: Preambule, Eusebius, Florestan, ChiarinaM. Mussorgsky? Piano cycle Pictures at an Exhibition: Promenade, Il vecchio castello, Ballet of the Unhatched Chicks, The Bogatyr GatesC. Debussy? Prelude for piano La cathédrale engloutie B. Bartok? Allegro barbaro for pianoJāzeps Vītols? Piano variations on the folk song theme Ej, saulīte, drīz pie DievaAlfrēds Kalni??? Balāde for piano – introductory theme and main themePēteris Vasks? Mūzika aizlidoju?ajiem putniem for wind quintetPēteris Plakidis? Trio Veltījums Haidnam for flute, cello and pianoIV VOCAL CHAMBER MUSICF. Schubert ? Vocal cycle Die sch?ne Müllerin: Das Wandern; ? Vocal cycle Winterreise: Lindenbaum, Der LeiermannR. Schumann ? Vocal cycle Dichterliebe op. 48: Ich grolle nichtEmīls Dārzi??? Solo songs: Teici to stundu, to brīdi; RezignācijaAlfrēds Kalni??? Solo songs: Brīnos es; P?āvēja diendusaMar?eris Zari??? Partita baroka stilā – I, VI movementsV LATVIAN A CAPPELLA CHOIR MUSICJāzeps Vītols? Choir ballades: Gaismas pilsEmīls Dārzi??? Choir songs: Lauztās priedes; Minjona; Mēness starus stīgoEmilis Melngailis? Choir works: Senatne; Jā?uvakarsJānis Zālītis? Choir song Kad naktsPēteris Barisons? Choir song Dziesmai ?odien liela dienaPauls Dambis? Choir cycle Jūras dziesmas – III movementMaija Einfelde? Pie zemes tālāsOral (selection): describe and analyse music by Latvian or foreign composer (on or several most popular pieces): ideas, themes, and means of musical expression.1) Latvian composers: Jāzeps Vītols; Emilis Melngailis; Emīls Dārzi??; Alfrēds Kalni??; Jānis?Medi??, Lūcija Garūta, Jānis Ivanovs; Mar?eris Zari??2) Foreign composers: Johann Sebastian Bach (Bach); Georg Friedrich Handel (H?ndel); Joseph Haydn (Haydn); Wolfgang Amadeus Mozart (Mozart); Ludwig van Beethoven (Beethoven); Franz Schubert (Schubert); Frederic?Chopin (Chopin); Hector Berlioz (Berlioz); Robert Schumann (Schumann); Franz Liszt (Liszt); Richard Wagner (Wagner); Giuseppe Verdi (Verdi); Johannes Brahms (Brahms); Modest Mussorgsky (Mусоргский); Peter Tchaikovsky (Чайковский); Edward Grieg (Grieg); Claude Debussy (Debussy); Alexander Scriabin (Скрябин); Serge Rachmaninov (Рахманинов); Maurice Ravel (Ravel);Music Theory (solfeggio, harmony, form):WRITING:Aural definition of separate musical elements (types of scales; separate intervals, chords; intervals and chords with resolutions; short succession of intervals and chords; typical modulations). Elements can be presented as rhythmically shaped phrases or as music examples within textures and genres. 10 elements altogether, the last element includes a short two-voice dictation (4-6 bars, performed 6 times);Harmonize melody or bass (free choice) according to given genre and character;Comprehensive theoretical analysis of a piece or an excerpt of piece (determining characteristic elements of genre and style, elements of form, structure of period, texture, tonality, chords, melodic figuration sounds, etc.)ORAL:Repeat phrases played by the examiner, singing within pitch and naming notes. To develop given melodic impulse to the shape of period, retaining intonative and metro-rhythmic characteristics of genre, creating tonal or modulating period.Solfeggio a melody.Sequence musical excerpt (4-5 sequence stages), concluding with a cadenza on the tonality reached;Applicants choice between:performing modulation to the I related tonality in the form of period or other structure of form, in free or 4-voice chord texture with melodic figuration,improvising accompaniment within given genre to a melody (4-8 bars, modulating to the I related tonality). ................
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