7. Study programme Instrumental music
additional requirements for applicants in subprogrammes Historic instrument
performance :
7.1. Historic instrument (harpsichord/ organ/ violin/ viola/ cello/ historic double
bass /violone), lute/ recorder/ flute traverso/ baroque oboe/ baroque clarinet/
baroque bassoon/ natural horn/ natural trumpet/ baroque trombone)
performance :
* a work created by 17th century composer for instrument solo or with
accompaniment;
* cyclic work – solo or with accompaniment - created by the French of
German/Italian composer of the first half of the 18th century.
Total length – up to 30 minutes.
Applicants will be provided with harpsichord and organ positive, tuning a=415`,
Valoti temperation. As an exception - if agreed in advance with examination
commission – it is allowed to pass examination on contemporary instrument (tuning
a=440`).
6.2. Colloquium in Historic instrument performance:
* knowledge about current situation in music life of Latvia, most outstanding historic
instrument performers in Latvia and abroad, composers of pieces performed in
examination and their creative work. Applicant should be aware about basic
questions of history, theory and interpretation of historic instrument performance,
as well as should be able to demonstrate his/her general outlook in culture and art.
Colloquium in music literature and theory (ear training, harmony, analysis):
Colloquium in music literature and theory (ear training, harmony, analysis) includes
test of knowledge and skills in two basic disciplines – music literature and theory.
Total evaluation of the level of previous musically theoretic preparation of the
applicant is formed from the average grade of the sum of evaluations obtained in
written and aural parts of colloquium. First part of colloquium consists of written,
second – of aural tasks.
1.1.1. Music literature:
 WRITTEN TEST – definition of ten musical fragments from recordings
(composer, work, musical theme) – two fragments from each group of
genres. List of musical fragments:
Composer
J. S. Bahs (Bach)
G.F. Hendelis (Händel)
J. Haidns (Haydn)
K.V. Gluks (Gluck)
V.A. Mocarts (Mozart)
Work
I VOCAL INSTRUMENTAL (SYMPHONIC) MUSIC AND OPERAS
• Matheus Passion: Introduction choir Kommt, ihr Töchter; alto aria Erbarme dich
• Oratorio Mesija: choir Hallelujah; soprano aria I know that my Redeemer liveth
• Oratorio The seasons: [Spring] Choir Komm, holder Lenz
• Opera Orfeo and Euridice: Choir of furias it. Chi mai dell` Erebo /fr. Quel est
l`audaciex and dance (Act 2), Orfeo aria Che farò senza Euridice (Act 3)
• Requiem: Kyrie eleison; Dies irae
• Opera Le nozze di Figaro: Overture, Figaro aria Non più andrai (Act 1)
• Opera Don Giovanni: Overture, Don Giovanni and Zerlina`s duettino Là ci darem la
mano (Act 1)
Composer
R. Vāgners (Wagner)
Dž. Verdi (Verdi)
P. Čaikovskis
(Чайковский)
M. Musorgskis
(Мусоргский)
Ž. Bizē (Bizet)
Dž. Pučīni (Puccini)
Jurjānu Andrejs
Jāzeps Vītols
Alfrēds Kalniņš
Jānis Mediņš
Arturs Maskats
Work
• Opera Lohengrin: Prologues of Act 1 and Act 3.; Lohengrin`s narration about Graal In
fernem Land
• Tannheiser Overture
• Opera Traviata:Violetta`s scene and aria E strano! → Ah fors’ è lui che l’anima (Act 1)
• Opera Aida: closing duo O terra, addio (Aida & Radames, Act 4.)
• Opera Eugene Onegin: Tatiana`s letter scene Пускай погибну я (Scene 2)
• Opera Boris Godunov: Choir Уж как на небе солнцу красному cлава
• Opera Carmen: Segidilla Près des remparts de Séville (Act 1); Carmen`s arioso from
the scene of Fortune telling En vain, pour éviter les réponses amères (Act 3)
• Opera La Bohema: Mimi narration Mi chiamano Mimi (Act 1)
• Cantata Tēvijai – main themes
• Ballada Beverīnas dziedonis – main themes
• Opera Baņuta: Baņuta`s ballada Act 1.;Funeral choir Vaimanā, vaimanā tēvija (Act 2)
Baņuta and Vižuts` duo scene Nāc, manu liego ilgu tēls (Act 3)
• Opera Uguns un nakts, Spīdola`s aria Es esmu es!
• Lacrimosa for mixed choir, organ and string orchestra
II Symphonic music
J. Haidns (Haydn)
V.A. Mocarts (Mozart)
L. van Bēthovens
(Beethoven)
F. Šūberts (Schubert)
F. Mendelsons Bartoldi
(Mendelssohn Bartholdy)
H. Berliozs (Berlioz)
J. Brāmss (Brahms)
P. Čaikovskis
(Чайковский)
A. Dvoržāks (Dvořák)
G. Mālers (Mahler)
F. Lists (Liszt)
E. Grīgs (Grieg)
N. Rimskis-Korsakovs
(Римский-Корсаков)
A. Skrjabins (Скрябин)
S. Rahmaņinovs
(Рахманинов)
Ž. Sibēliuss (Sibelius)
M. Ravels (Ravel)
D. Šostakovičs
(Шостакович)
S. Prokofjevs
(Прокофьев)
I. Stravinskis
(Стравинский)
A. Bergs (Berg)
• London symphony Nr. 103 Es dur (with timpani tremolo) – main themes of each
movement
• Symphony[Nr. 41] C dur – I, IV movements – main themes
• Piano concerto No. 20 – I movement main themes
• 3rd symphony – I movement main themes
• 5th symphony c moll – main themes of all movements
• 9th symphony – IV movement, theme Freude, schöner Götterfunken
• Symphony h moll (Unfinished) – main themes of all movements
• Violin concerto e moll op. 64 – main themes of all movements
• Fantastic symphony op. 14 –main themes of all movements
• Fourth symphony e moll op. 98 – I, IV movements main themes
• Sixth symphony h moll – main themes of all movements
• 9th symphony Frnm the New World e moll op. 95 – I movement main themes
• Concerto for cello and orchestra – I movement main hemes
• First symphony D dur – I, III movements main themes
• Symphonic poem Preludes – main themes
• Piano concerto a moll op.16 – main themes of all movements
• Symphonic suite Sheherezade – I movement main themes
• Poem of Ecstasy for symphonic orchestra – theme of self assertation
• Second piano concerto c moll op. 18 – main themes of all movements
• Violin concerto d moll op. 47 – main themes of all movements
• Bolero for symphonic orchestra
• Fifth simfonija d moll op. 47 – main themes of all movements
• Fifteenth symphony – I movement main themes
• First symphony (Classical) – I, III movements main themes
• Ballet Petrushka: Russian dance
• Violin concerto (Angel`s memory) – main themes
Composer
V. Ļutoslavskis
(Lutosławski)
Jurjānu Andrejs
Jānis Ivanovs
Romualds Kalsons
Pēteris Vasks
J. S. Bahs (Bach)
V. A. Mocarts (Mozart)
L. van Bēthovens
(Beethoven)
F. Šopēns (Chopin)
R. Šūmanis (Schumann)
M. Musorgskis
(Мусоргский)
K. Debisī (Debussy)
B. Bartoks (Bartók)
Jāzeps Vītols
Alfrēds Kalniņš
Pēteris Vasks
Pēteris Plakidis
F. Šūberts (Schubert)
R. Šūmanis (Schumann)
Emīls Dārziņš
Alfrēds Kalniņš
Marģeris Zariņš
Work
• (Livre pour orchestre) – introduction
• Latvju dejas (Latvian Dances) – I un III Dances
• 4th symphony (Atlantīda) – I, II movements main themes
• Violin concerto – I, III movements main themes
• Wedding Song Nr. 5 for symphonic orchestra
• Musica dolorosa for string orchestra– main themes
III INSTRUMENTAL CHAMBER MUSIC
• Chromatic phantasy and fugue for piano d moll (BWV 903) – main themes
• Piano sonata c moll KV 457 – I movement main themes
• 23rd. sonata f moll for piano op. 57 (Appassionata) – main themes from all
movements
• First ballada g moll op. 23 – main themes
• Cycle for piano Carnival op. 9: Preambula, Eusebio, Florestan, Chiarina
• Cycle for piano Pictures at an Exhibition: Promenade, Il vecchio castello, Bogatyrskie
vorota
• Prelude for piano La cathédrale engloutie
• Allegro barbaro for piano
Variations for piano on the theme of folk song Ej, saulīte, drīz pie Dieva
• Ballada for piano – all main themes
• Music for fleeting birds for wind quintet
• Trio Hommage a Haydn for flute, cello and piano
IV VOCAL CHAMBER MUSIC
• Vocal cycle Die Schone Mullerin: Ceļošana (Das Wandern);
• Vocal cycle Winterreise: Liepa (Lindenbaum); Leijerkastnieks (Der Leiermann)
• Vocal cycle Dichterliebe op. 48: Man dusmu nav (Ich grolle nicht)
• Songs: Teici to stundu, to brīdi; Rezignācija
• Songs: Brīnos es; Pļāvēja diendusa
• Partita baroka stilā – I, VI movements
V LATVIAN A CAPPELLA CHORAL MUSIC
Jāzeps Vītols
Emīls Dārziņš
Emilis Melngailis
Jānis Zālītis
Pauls Dambis
• Choir balladas: Gaismas pils
• Choral songs: Lauztās priedes; Minjona; Senatne; Mēness starus stīgo
• Choral works: Senatne; Jāņuvakars
• Choral song Biķeris miroņu salā
• Choral cycle Jūras dziesmas – I movements
Maija Einfelde
• Pie zemes tālās

AURAL TEST – characteristic of music of one foreign and one Latvian
composer:
1) Foreign composers:
Johans Sebastiāns Bahs (Bach); Georgs Frīdrihs Hendelis
(Händel); Jozefs Haidns (Haydn); Volfgangs Amadejs Mocarts
(Mozart); Ludvigs van Bēthovens (Beethoven); Francis Šūberts
(Schubert); Frideriks Šopēns (Chopin); Hektors Berliozs (Berlioz);
Roberts Šūmanis (Schumann); Ferencs Lists (Liszt); Rihards
Vāgners (Wagner); Džuzepe Verdi (Verdi); Antonīns Dvoržāks
(Dvořák); Johanness Brāmss (Brahms); Modests Musorgskis
(Mусоргский); Pēteris Čaikovskis (Чайковский); Edvards Grīgs
(Grieg); Džakomo Pučīni (Puccini); Klods Debisī (Debussy);
Aleksandrs Skrjabins (Скрябин); Sergejs Rahmaņinovs
(Рахманинов); Moriss Ravels (Ravel); Bēla Bartoks (Bartók); Igors
Stravinskis (Стравинский); Sergejs Prokofjevs (Прокофьев);
composers of New Vienna school (A. Schoenberg, A. Berg, A.
Webern); Arturs Onegērs (Honnegger, in connection with the
activities of group Six); Dmitrijs Šostakovičs (Шостакович);
Vitolds Ļutoslavskis (Lutosławski)
Remark: necessary requirements for successful evaluation - composer`s music in context of century,
style, genres in which works were created according to the programme of secondary school,
mentioning and characterizing also separate works.
1) Latvian composers:
Jāzeps Vītols; Emilis Melngailis; Emīls Dārziņš; Alfrēds Kalniņš;
Jānis Ivanovs; Tālivaldis Ķeniņš; Jānis Mediņš, Lūcija Garūta, Pauls
Dambis; Romualds Kalsons; Imants Kalniņš; Pēteris Vasks; Pēteris
Plakidis
Remark: Necessary requirements for successful evaluation – characterize in which genres created
most famous works of the composer according to the programme of secondary school, mentioning
and characterizing also separate works.
1.1.2. Music theory (ear training, harmony, analysis):
WRITTEN TEST:
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Identification by ear of separate elements of musical language (modes
of the keys; separate intervals, chords; intervals and chords with
solutions; short chains of intervals and chords; typical models of
modulations). Elements can be played as rhythmic phrases or musical
samples in texture, genre;
Music dictation (two-voiced period consisting of 8-12 bars; possible
chromatisms and modulations to closely related keys, possible mixed
metre, changing metre. Playing 12 times, writing – 25 minutes.
Harmonization of a given melody in four-voiced texture or
homophone-harmonic texture as melody with accompaniment.
Possible modulations to closely related keys.
Full theoretic analysis of a musical work or its excerpt (to identify most
characteristic signs of genre and style, components of form, structure
of a period, texture, keys, chords, tones of melodic figuration, etc.).
AURAL TEST:

To repeat phrases played on the piano with notes. To develop given
melodic impulse into a form of a period, maintaining genre, intonative
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and metro-rhythmic characteristics, creating tonal or modulating
period;
Sight reading of a rhythmic formation with syncopation, changing,
mixed metre and/or homophonic melody with chromatisms,
modulations to closely related keys;
To sing given melody improvising accompaniment in free texture
corresponding to the genre and character of the melody;
Analysis of a musical excerpt by ear or analysis by sight (to identify
style, genre, form of expression, texture, place of this excerpt in the
musical work; in case of a period – mode of period, to analyse most
characteristic elements of musical language – melody, harmony,
metro-rhythm, structure and other means of expression);
To sequence musical excerpts (4-5 components in a sequence) closing
with cadenza in a key established;
To play modulation to closely related key in the form of a period or
other construction, in a free or four-voiced texture with melodic
figuration.