Admission Examinations – Requirements 2014/2015
PROGRAMME SYMPHONY ORCHESTRA CONDUCTING
Symphony Orchestra Conducting
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
conduct from memory a large scale piece (overture, symphonic picture, etc) or a
piece from a cycle (suite, symphony), performed on pianos;
play on the piano the scores of the pieces conducted in the examination.
Colloquium in Symphony Orchestra Conducting
 all applicants analyse the pieces performed in the Symphony Orchestra Conducting
examination:
o providing insight into the creative work of the particular composer,
o analysing the characteristic means of musical expression employed in these
pieces;
 all applicants answer to two of the following questions, selected by ballot:
1) Current events in Latvian music life during the 2013/2014 concert season.
2) Symphonic and vocal-symphonic music of the composers of various epochs –
characteristics of instrumentation and musical form (Vienna classical style, 20 th
century and contemporary composers.
3) Instruments of a symphony orchestra (tunings, pitches, registers, technical
capabilities, use), their placement on stage.
4) Latvian symphonic and opera music (composers, pieces, interpretations, forms).
5) Conductors and orchestras of the world from a historic perspective from the
second half of the 19th century to modern days.
6) Orchestras, opera and conductors in Latvia in historic perspective and current
view.
Colloquium in Music Literature and Theory (solfeggio, harmony, form)

see paragraph 9.3
Piano Performance (from memory)
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
Polyphonic piece;
Two contrasting pieces or a large scale piece.
9.3. 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 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:
Composer
J.S. Bach
G.F. Handel
J. Haydn
K.V. Gluck
W.A. Mozart
R. Wagner
G. Verdi
P. Tchaikovsky
M. Mussorgsky
G. Bizet
G. Puccini
Jurjānu Andrejs
Jāzeps Vītols
Alfrēds Kalniņš
Jānis Mediņš
Lūcija Garūta
Arturs Maskats
Mārtiņš Brauns
J. Haydn
W.A. Mozart
L. van Beethoven
Piece
I VOCAL INSTRUMENTAL (SYMPHONIC) AND OPERA MUSIC
• Matthew’s Passion: introductory choir Kommt, ihr Töchter; alto aria Erbarme
dich
• Oratorio Messiah: choir Hallelujah; soprano aria I know that my Redeemer
liveth
• Oratorio The Seasons: [Spring] Choir Komm, holder Lenz
• 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)
• 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)
• Opera Lohengrin: Introduction of Act 1 and Act 3; Lohengrin’s story of the
Holy Grail In fernem Land
• Overture to opera Tannhauser
• 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)
• Opera Eugene Onegin: Tatiana’s letter scene Пускай погибну я (Act 2)
• Opera Boris Godunov: choir Уж как на небе солнцу красному cлава from
prologue
• Opera Carmen: Habanera (Act 1), Seguidilla Près des remparts de Séville (Act
1)
• Opera La Boheme: Mimi’s tale Mi chiamano Mimi (Act 1)
• Cantata Tēvijai – main themes
• Ballad Beverīnas dziedonis – main themes
• Opera Baņuta: Baņuta’s tale (ballade, Act 1; Mourning choir Vaimanā,
vaimanā tēvija (2.cēl.), duet of Baņuta and Vižuts from Act 3)
• Opera Uguns un nakts, Spīdola’s aria Es esmu es!
• Cantata Dievs, tava zeme deg!: Mūsu tēvs debesīs
• Lacrimosa for mixed choir, organ and string orchestra
• Saule, Pērkons, Daugava for mixed choir with orchestra
II SYMPHONIC MUSIC
• London Symphony No. 103 Es dur (with timpani tremolo) – main themes of
each movement
• Symphony [No. 40] g moll – main themes of each movement
• 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, schöner Götterfunken
Composer
F. Schubert
F.
Mendelssohn
Bartoldi
H. Berlioz
J. Brahms
P. Tchaikovsky
A. Dvorak
G. Mahler
F. Liszt
E. Grieg
Piece
• Symphony in h moll (Unfinished) – main themes of each movement
• Violin Concerto e moll op. 64 – main themes of I movement
• Fantastic Symphony op. 14 – main themes of each movement
• Symphony No.4 e moll op. 98 – main themes of I, IV movements
• Symphony No.6 h moll – main themes of each movement
• Symphony No.9 e moll op. 95 – main themes of I, II, IV movements
• Symphony No.1 D dur – main themes of I, III movements
• Symphonic poem Preludes – main themes
• Piano Concerto a moll op.16 – main themes of I movement

N. Rimsky-Korsakov
A. Scriabin
S. Rachmaninov
J. Sibelius
M. Ravel
D. Shostakovich
S. Prokofiev
I. Stravinsky
A. Berg
W. Lutoslawski
Jurjānu Andrejs
Jānis Ivanovs
Romualds Kalsons
Pēteris Vasks
J. S. Bach
W. A. Mozart
L. van Beethoven
F. Chopin
R. Schumann
M. Mussorgsky
C. Debussy
B. Bartok
Jāzeps Vītols
Alfrēds Kalniņš
Pēteris Vasks
Pēteris Plakidis
F. Schubert
R. Schumann
Emīls Dārziņš
Alfrēds Kalniņš
Marģeris Zariņš
Jāzeps Vītols
Emīls Dārziņš
Emilis Melngailis
Suite Peer Gynt: Solveig’s Song, In the Hall of the Mountain King
• Symphonic suite Scheherazade – main theme of I movement
• Poema d’Extase for symphonic orchestra – self-affirmation theme
• Piano Concerto No.2 c moll op. 18 – main themes of each movement
• Violin Concerto d moll op. 47 – main theme of I movement
• Bolero for symphony orchestra
• Symphony No.5 d moll op. 47 – main themes of I movement
• Symphony No.15 - main themes of I movement
• Symphony No.1 – main themes of I, III movements
• Ballet Petrushka: Russian Dance
• Violin Concerto – main theme of movement I (seria), Theme of Bach’s
chorale Es ist genug
• Livre pour orchestre – main theme of movement I
• Latvju dejas – dances I, III
• Symphony No.4. Atlantīda – main themes of I, II movements
• Violin Concerto – main themes of I, III movements
• Kāzu dziesma Nr. 5 for symphonic orchestra
• Musica dolorosa for string orchestra – main themes
III INSTRUMENTAL CHAMBER MUSIC
• Chromatic Fantasy and Fugue d moll (BWV 903) – main themes
• Piano Sonata A dur KV 331. – main themes of I, III movements
• Piano Sonata No.23 f moll op. 57 (Appassionata) – main themes of each
movement
• Ballade No.1 g moll op. 23 – main themes
• Piano cycle Carnaval op. 9: Preambule, Eusebius, Florestan, Chiarina
• Piano cycle Pictures at an Exhibition: Promenade, Il vecchio castello, Ballet of
the Unhatched Chicks, The Bogatyr Gates
• Prelude for piano La cathédrale engloutie
• Allegro barbaro for piano
• Piano variations on the folk song theme Ej, saulīte, drīz pie Dieva
• Balāde for piano – introductory theme and main theme
• Mūzika aizlidojušajiem putniem for wind quintet
• Trio Veltījums Haidnam for flute, cello and piano
IV VOCAL CHAMBER MUSIC
• Vocal cycle Die schöne Müllerin: Das Wandern;
• Vocal cycle Winterreise: Lindenbaum, Der Leiermann
• Vocal cycle Dichterliebe op. 48: Ich grolle nicht
• Solo songs: Teici to stundu, to brīdi; Rezignācija
• Solo songs: Brīnos es; Pļāvēja diendusa
• Partita baroka stilā – I, VI movements
V LATVIAN A CAPPELLA CHOIR MUSIC
• Choir ballades: Gaismas pils
• Choir songs: Lauztās priedes; Minjona; Mēness starus stīgo
• Choir works: Senatne; Jāņuvakars
Composer
Jānis Zālītis
Pēteris Barisons
Pauls Dambis
Piece
• Choir song Kad nakts
• Choir song Dziesmai šodien liela diena
• Choir cycle Jūras dziesmas – III movement
Maija Einfelde
• Pie zemes tālās
Oral (selection): describe and analyse music by Latvian or foreign composer (on or
several most popular pieces): ideas, themes, and means of musical expression.
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
Latvian composers: Jāzeps Vītols; Emilis Melngailis; Emīls Dārziņš; Alfrēds
Kalniņš; Jānis Ivanovs; Jānis Mediņš, Lūcija Garūta, Pauls Dambis; Romualds
Kalsons; Imants Kalniņš; Pēteris Vasks; Pēteris Plakidis
Foreign composers: Johann Sebastian Bach (Bach); Georg Friedrich Handel
(Händel); 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); Antonin Dvorak (Dvořák); Johannes Brahms (Brahms); Modest
Mussorgsky (Mусоргский); Peter Tchaikovsky (Чайковский); Edward Grieg
(Grieg); Giacomo Puccini (Puccini); Claude Debussy (Debussy); Alexander
Scriabin (Скрябин); Serge Rachmaninov (Рахманинов); Maurice Ravel
(Ravel); Bela Bartok (Bartók); Igor Stravinsky (Стравинский); Serge Prokofiev
(Прокофьев); composers of the New Vienna School (A. Schoenberg, A. Berg,
A. Webern); Arthur Honneger (Honnegger, in relation to the composers’
union Les Six); Dmitry Shostakovich (Шостакович); Witold Lutoslawski
(Lutosławski)
Music Theory (solfeggio, harmony, form):
 WRITING:

o 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 twovoice dictation (4-6 bars, performed 6 times);
o Harmonize melody or bass (free choice) according to given genre and
character;
o 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:
o 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.
o Solfeggio a melody whilst improvising its accompaniment in free texture
in corresponding genre and character.
o Sequence musical excerpt (4-5 sequence stages), concluding with a
cadenza on the tonality reached;
o Applicants choice:
 perform 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,
 improvise accompaniment within given genre to a melody (4-8
bars, modulating to the I related tonality).