TMCbooklet2005 Web

music center
The Boston Symphony Orchestras

Academy for Advanced Musical Study
tanglewood music center

boston symphony orchestra
301 massachusetts avenue
boston, ma 02115
June 17 August 16, 2005
Tanglewood Music Center

September through mid-June
Symphony Hall
301 Massachusetts Avenue
Boston, MA 02115
(617) 638-9230
www.bso.org
e-mail: tmc@bso.org
mid-June through August
Tanglewood
297 West Street
Lenox, MA 01240
(413) 637-5230
Cover and principal

photography:
Michael Lutch
table of contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Programs and Faculty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Fellowship Programs
Instrumental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Voice/Vocal Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Conducting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Orchestra Library. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Audio Engineering . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Festival of Contemporary Music . . . . . . . . . . . . . . . . . . . . . . 10
Special Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
General Fellowship Information . . . . . . . . . . . . . . . . . . . . . . 11
Invitations
Program Fees and Expenses
Residency Requirements
Accommodations
Application Deadlines & Audition Schedule . . . . . . . . . . . . 12
Application Instructions & Audition Requirements . . . . . 13
p r o g r a m s a n d fa c u lt y
The Boston Symphony Orchestras Academy for Advanced Musical Study

James Levine, Music Director, Boston Symphony Orchestra
Mark Volpe, Managing Director, Boston Symphony Orchestra
Ellen Highstein, Director, Tanglewood Music Center
About 150 musicians are selected annually to be Fellows of

the Tanglewood Music Center , all of whom are awarded
fellowships that cover the costs of tuition, room, and board.
The program is open to instrumentalists including pianists,
singers and vocal pianists, composers, and conductors;
fellowships are also awarded each year for one orchestra
Established in 1940 by Serge Koussevitzky, the Tanglewood
The TMC presents over 40 additional concerts throughout
Music Center (TMC) provides a unique, in-depth musical
the season, presenting orchestra, opera, chamber music,
experience for emerging professional musicians of exceptional
and vocal programs, and including a world-famous new
ability. Participants in the program, who all attend as Fellows
music festival. TMC performances take place in Ozawa Hall,
of the Music Center (with costs of tuition, room, and board
the Shed, the historic Tanglewood Theatre, and the Saarinen-
covered by their Fellowships), work with internationally
designed Chamber Music Hall.
renowned artists, including members of the Boston Symphony,
wide variety of intra- and inter-disciplinary musical projects,

many of which bring together the various musical areas
within the TMC and the BSO.
Members of the BSO participate in the regular activities of
the TMC, giving master classes, leading sectional rehearsals
The Fellowship Program is designed for experienced musicians
resident faculty, and guests.
librarian and one audio engineer. The program includes a
who have completed much or all of their formal instruction,

Tanglewood, the summer home of the Boston Symphony
and who will benefit from and contribute most to the very
Orchestra (BSO), is located in the Berkshire Hills of western
intense and demanding projects undertaken at the Center.
Massachusetts, in a scenic environment of remarkable
The sole criterion for admission is musical excellence. While
beauty. The BSO performs three concerts each weekend
there is no strict upper age limit, preference is generally
during an eight-week season in the 5,000-seat Koussevitzky
shown to those between the ages of 18 and 30.
Music Shed; additional performances by outstanding
and repertoire classes for TMC Orchestra members, and coaching

chamber music projects. Mentors from the BSO are involved in
the selection of TMC Fellows, assignment of parts, and ongoing
oversight of activities for each section in the TMC Orchestra.
Other distinguished musicians, in residence with the TMC for
periods ranging from one to eight weeks of the season, provide
chamber music coaching and mentoring in non-orchestral
soloists and ensembles are presented throughout the
The TMC is proud of its roster of distinguished alumni, many
summer, mostly in the acoustically and architecturally
of whom play vital roles in the musical life of the nation and
remarkable 1,100-seat Seiji Ozawa Hall. TMC students may
the world. The BSO works to fulfill its commitment to the
attend all BSO performances and rehearsals, guest artist
future of the field through the TMC, one of the worlds
recitals, and most special events as part of their participation
most important educational centers for the performers
in the program.
and composers of tomorrow.
2005 TMC Audition Committees +

voice / vocal piano
Kenneth Griffiths, vocal coach
Dennis Helmrich, vocal coach
Kayo Iwama, vocal program coordinator
Alan Smith, vocal coach
Dawn Upshaw, soprano
st r i n g s
Edward Gazouleas, viola, BSO
Norman Fischer, cello, string program coordinator
Ronan Lefkowitz, violin, BSO
Todd Seeber, bass, BSO
woodwinds
Gregg Henegar, contrabassoon, BSO
Mark McEwen, oboe, BSO
Craig Nordstom, bass clarinet, BSO
Elizabeth Rowe, Principal Flute, BSO
brass
Ronald Barron, Principal Trombone, BSO
Daniel Katzen, horn, BSO (L.A. auditions)
Thomas Rolfs, Associate Principal Trumpet, BSO
Mike Roylance, tuba, BSO
Jamie Somerville, Principal Horn, BSO
areas and in special projects. Guests of the TMC, often worldfamous artists who are at Tanglewood for shorter periods of
time to work with the BSO or to present recitals, regularly offer
discussions and lectures, master classes, create and lead brief
projects, or simply spend social time with the TMC Fellows.
percussion
Frank Epstein, percussion, BSO
Thomas Gauger, percussion, BSO
Timothy Genis, timpani, BSO
J. William Hudgins, percussion, BSO
harp
Ann Hobson Pilot, Principal Harp, BSO
piano
Ursula Oppens, Piano Program Coordinator
Additional panelists to be announced.
I know of no festival that equals the concentration of talent and generosity of Tanglewood. The opportunity to be
around the Boston Symphony, the devoted TMC faculty and the extraordinary student body is life changing.
Robert Spano, Music Director, Atlanta Symphony Orchestra
library
Marshall Burlingame, Principal Librarian, BSO
conducting
Stefan Asbury, Conducting Program Coordinator
Anthony Fogg, Artistic Administrator, BSO
Lawrence Wolfe, Assistant Principal Bass, BSO
composition
Michael Gandolfi, Composition Program Coordinator
James Orleans, bass, BSO
Augusta Read Thomas, composer
audio engineering
Timothy Martyn, Technical Director/Chief Engineer,
Tanglewood Audio Department
Information subject to change. All panelists may not
be present at all live audition cities.
please visit www.bso.org/tmc for updates.
+reflects faculty and program information as of 10/6/04. please visit www.bso.org/tmc for updates.
3
p r o g r a m s a n d fa c u lt y
The Boston Symphony Orchestras Academy for Advanced Musical Study

Mark Volpe, Managing Director, Boston Symphony Orchestra
Ellen Highstein, Director, Tanglewood Music Center
About 150 musicians are selected annually to be Fellows of

the Tanglewood Music Center , all of whom are awarded
fellowships that cover the costs of tuition, room, and board.
The program is open to instrumentalists including pianists,
singers and vocal pianists, composers, and conductors;
fellowships are also awarded each year for one orchestra
Established in 1940 by Serge Koussevitzky, the Tanglewood
The TMC presents over 40 additional concerts throughout
Music Center (TMC) provides a unique, in-depth musical
the season, presenting orchestra, opera, chamber music,
experience for emerging professional musicians of exceptional
and vocal programs, and including a world-famous new
ability. Participants in the program, who all attend as Fellows
music festival. TMC performances take place in Ozawa Hall,
of the Music Center (with costs of tuition, room, and board
the Shed, the historic Tanglewood Theatre, and the Saarinen-
covered by their Fellowships), work with internationally
designed Chamber Music Hall.
renowned artists, including members of the Boston Symphony,
wide variety of intra- and inter-disciplinary musical projects,

many of which bring together the various musical areas
within the TMC and the BSO.
Members of the BSO participate in the regular activities of
the TMC, giving master classes, leading sectional rehearsals
The Fellowship Program is designed for experienced musicians
resident faculty, and guests.
librarian and one audio engineer. The program includes a
who have completed much or all of their formal instruction,

Tanglewood, the summer home of the Boston Symphony
and who will benefit from and contribute most to the very
Orchestra (BSO), is located in the Berkshire Hills of western
intense and demanding projects undertaken at the Center.
Massachusetts, in a scenic environment of remarkable
The sole criterion for admission is musical excellence. While
beauty. The BSO performs three concerts each weekend
there is no strict upper age limit, preference is generally
during an eight-week season in the 5,000-seat Koussevitzky
shown to those between the ages of 18 and 30.
Music Shed; additional performances by outstanding
and repertoire classes for TMC Orchestra members, and coaching

chamber music projects. Mentors from the BSO are involved in
the selection of TMC Fellows, assignment of parts, and ongoing
oversight of activities for each section in the TMC Orchestra.
Other distinguished musicians, in residence with the TMC for
periods ranging from one to eight weeks of the season, provide
chamber music coaching and mentoring in non-orchestral
soloists and ensembles are presented throughout the
The TMC is proud of its roster of distinguished alumni, many
summer, mostly in the acoustically and architecturally
of whom play vital roles in the musical life of the nation and
remarkable 1,100-seat Seiji Ozawa Hall. TMC students may
the world. The BSO works to fulfill its commitment to the
attend all BSO performances and rehearsals, guest artist
future of the field through the TMC, one of the worlds
recitals, and most special events as part of their participation
most important educational centers for the performers
in the program.
and composers of tomorrow.
2005 TMC Audition Committees +

voice / vocal piano
Kayo Iwama, vocal program coordinator
st r i n g s
Edward Gazouleas, viola, BSO
Norman Fischer, cello, string program coordinator
Ronan Lefkowitz, violin, BSO
Todd Seeber, bass, BSO
woodwinds
Gregg Henegar, contrabassoon, BSO
Mark McEwen, oboe, BSO
Craig Nordstom, bass clarinet, BSO
Elizabeth Rowe, Principal Flute, BSO
brass
Ronald Barron, Principal Trombone, BSO
Daniel Katzen, horn, BSO (L.A. auditions)
Thomas Rolfs, Associate Principal Trumpet, BSO
Mike Roylance, tuba, BSO
Jamie Somerville, Principal Horn, BSO
areas and in special projects. Guests of the TMC, often worldfamous artists who are at Tanglewood for shorter periods of
time to work with the BSO or to present recitals, regularly offer
discussions and lectures, master classes, create and lead brief
projects, or simply spend social time with the TMC Fellows.
percussion
Frank Epstein, percussion, BSO
Thomas Gauger, percussion, BSO
Timothy Genis, timpani, BSO
J. William Hudgins, percussion, BSO
harp
Ann Hobson Pilot, Principal Harp, BSO
piano
Ursula Oppens, Piano Program Coordinator
Additional panelists to be announced.
I know of no festival that equals the concentration of talent and generosity of Tanglewood. The opportunity to be
around the Boston Symphony, the devoted TMC faculty and the extraordinary student body is life changing.
Robert Spano, Music Director, Atlanta Symphony Orchestra
library
Marshall Burlingame, Principal Librarian, BSO
conducting
Anthony Fogg, Artistic Administrator, BSO
Lawrence Wolfe, Assistant Principal Bass, BSO
composition
James Orleans, bass, BSO
Augusta Read Thomas, composer
audio engineering
Timothy Martyn, Technical Director/Chief Engineer,
Tanglewood Audio Department
Information subject to change. All panelists may not
be present at all live audition cities.
3
i n st r u m e n ta l f e l l o w s h i p s
Instrumental Fellows work in a number of areas of
All performance Fellows study and perform chamber music;
concentration: orchestra, chamber music, new music
specific periods during the summer are devoted entirely to
and special projects.
chamber music projects. (See page 10, Special Projects,

for a description of the annual String Quartet Seminar.)
The TMC Orchestra (TMCO) performs under internationally
The eminent musicians who serve as chamber music coaches
renowned conductors before sold-out crowds in the
often play in the ensembles side-by-side with Fellows. Vocal
Koussevitzky Music Shed and in Seiji Ozawa Hall. The TMCO
chamber music is an important part of this program, and
joins forces with the BSO for a gala evening performance
both instrumental and vocal pianists should expect to work
during Tanglewood on Parade, a day-long celebration filled
in both areas during the summer.
with musical events. In addition, TMC string players may

audition to play with the BSO in regular weekend Shed concerts,
New music has a central place in the TMCs programs. An
and TMC wind, brass, percussion, and harp players are invited
intensive period of study leads to the annual Festival of
to observe BSO rehearsals onstage within the sections. (Note
Contemporary Music (FCM), a unique, world-famous showcase
that all pianists participate in orchestra at some time during
of exceptional performances of both new works and modern
the season, playing a variety of keyboards harpsichord,
classics. Contemporary music is not limited to the Festival;
synthesizer, celesta, etc. in regular TMCO concerts.)
rather, these works are programmed throughout the summer,
conductors and repertoire tmco 2005+
r e s i d e n t fa c u lt y a n d g u e st s +
(listed in order of appearance with the TMCO)
Boston Symphony Orchestra Members
Programs subject to change.
Emanuel Ax, piano

James Dunham, viola *
Kurt Masur
PROKOFIEV Symphony No. 1
BEETHOVEN Symphony No. 7
DUTILLEUX The shadows of time
and their preparation and performance is part of the ongoing

In 2005 James Levine will conduct the TMCO for the first
excitement of the Center. Whenever possible, composers
time, in his inaugural season at Tanglewood as Music
participate in the preparation of their works.
Director of the Boston Symphony Orchestra. The program,

which will take place in the Shed on July 17, will be the first
Master classes and other activities with BSO and guest
act of Wagners Die Walkre and the last act of
musicians are held on a regular basis throughout the season.
Gtterdmmerung, featuring a cast of internationally

renowned vocal soloists.
James Levine
WAGNER Die Walkre, Act I
WAGNER Gtterdmmerung, Act III
Norman Fischer, cello ** String Program Coordinator

Claude Frank, piano
Pamela Frank, violin
Sadao Harada, cello *
Andrew Jennings, violin **
Juilliard String Quartet
Yo-Yo Ma, cello
Ursula Oppens, piano Piano Program Coordinator
Ingo Metzmacher
Program TBD
Harry Shapiro, Audition Coach and counselor

Joseph Silverstein, violin
Craig Smith, Bach specialist
Please see pages 13-19 for audition requirements.

Stefan Asbury
Program TBD
Mark Sokol, violin *

Barry Tuckwell, horn
Donald Weilerstein, violin *
Rafael Frhbeck de Burgos

BEETHOVEN Symphony No. 6,
STRAUSS Don Juan
STRAUSS Der Rosenkavalier: Suite
Roger Voisin, solfe`ge
* Participating in the String Quartet Seminar

** Participating in both the String Quartet Seminar
Additional conductors TBD
and in ongoing chamber music activities
My two summers at Tanglewood made me realize why I love to play music. Spending time playing great
repertoire with first-class musicians in such a relaxing setting allowed me to discover a whole new world of
artistic possibilities and opportunities through other people, and also myself.
Ben Levy, double bass, Boston Symphony Orchestra, Fellow 2001, 2002
4
5
i n st r u m e n ta l f e l l o w s h i p s
Instrumental Fellows work in a number of areas of
All performance Fellows study and perform chamber music;
concentration: orchestra, chamber music, new music
specific periods during the summer are devoted entirely to
and special projects.
chamber music projects. (See page 10, Special Projects,

for a description of the annual String Quartet Seminar.)
The TMC Orchestra (TMCO) performs under internationally
The eminent musicians who serve as chamber music coaches
renowned conductors before sold-out crowds in the
often play in the ensembles side-by-side with Fellows. Vocal
Koussevitzky Music Shed and in Seiji Ozawa Hall. The TMCO
chamber music is an important part of this program, and
joins forces with the BSO for a gala evening performance
both instrumental and vocal pianists should expect to work
during Tanglewood on Parade, a day-long celebration filled
in both areas during the summer.
with musical events. In addition, TMC string players may

audition to play with the BSO in regular weekend Shed concerts,
New music has a central place in the TMCs programs. An
and TMC wind, brass, percussion, and harp players are invited
intensive period of study leads to the annual Festival of
to observe BSO rehearsals onstage within the sections. (Note
Contemporary Music (FCM), a unique, world-famous showcase
that all pianists participate in orchestra at some time during
of exceptional performances of both new works and modern
the season, playing a variety of keyboards harpsichord,
classics. Contemporary music is not limited to the Festival;
synthesizer, celesta, etc. in regular TMCO concerts.)
rather, these works are programmed throughout the summer,
conductors and repertoire tmco 2005+
r e s i d e n t fa c u lt y a n d g u e st s +
(listed in order of appearance with the TMCO)
Boston Symphony Orchestra Members
Programs subject to change.
Emanuel Ax, piano

James Dunham, viola *
Kurt Masur
PROKOFIEV Symphony No. 1
BEETHOVEN Symphony No. 7
DUTILLEUX The shadows of time
and their preparation and performance is part of the ongoing

In 2005 James Levine will conduct the TMCO for the first
excitement of the Center. Whenever possible, composers
time, in his inaugural season at Tanglewood as Music
participate in the preparation of their works.
Director of the Boston Symphony Orchestra. The program,

which will take place in the Shed on July 17, will be the first
Master classes and other activities with BSO and guest
act of Wagners Die Walkre and the last act of
musicians are held on a regular basis throughout the season.
Gtterdmmerung, featuring a cast of internationally

renowned vocal soloists.
James Levine
WAGNER Die Walkre, Act I
WAGNER Gtterdmmerung, Act III
Norman Fischer, cello ** String Program Coordinator

Claude Frank, piano
Pamela Frank, violin
Sadao Harada, cello *
Andrew Jennings, violin **
Juilliard String Quartet
Yo-Yo Ma, cello
Ursula Oppens, piano Piano Program Coordinator
Ingo Metzmacher
Program TBD
Harry Shapiro, Audition Coach and counselor

Joseph Silverstein, violin

Stefan Asbury
Program TBD
Mark Sokol, violin *

Barry Tuckwell, horn
Donald Weilerstein, violin *

BEETHOVEN Symphony No. 6,
STRAUSS Don Juan
STRAUSS Der Rosenkavalier: Suite
Roger Voisin, solfe`ge
* Participating in the String Quartet Seminar

** Participating in both the String Quartet Seminar
Additional conductors TBD
and in ongoing chamber music activities
My two summers at Tanglewood made me realize why I love to play music. Spending time playing great
repertoire with first-class musicians in such a relaxing setting allowed me to discover a whole new world of
artistic possibilities and opportunities through other people, and also myself.
Ben Levy, double bass, Boston Symphony Orchestra, Fellow 2001, 2002
4
5
voice and vocal piano fellowships
composition fellowships
TMC vocal Fellows study and perform art song, vocal chamber
vocal music+
The TMC Composition Program balances intensive on-site
Each fellowship composer will have one previously composed
Phyllis Curtin, soprano
projects with classes, seminars, and discussions lead by
acoustic chamber work performed during the season on a
distinguished composers from a wide range of aesthetic
regular TMC concert. Therefore, as part of the application
perspectives.
package, composers should include at least one work which
music, and opera. Coaches include members of the TMC

resident vocal faculty as well as artists from the instrumental
and other programs; master classes with Phyllis Curtin are
held on a regular basis, and visiting singers and pianists, as
well as resident faculty, present classes in specific areas of
the repertoire. Vocal Fellows with have the opportunity to
work with James Levine, the new Music Director of the BSO.

Kayo Iwama, vocal coach and vocal program coordinator
William Sharp, baritone
Lucy Shelton, soprano
they would like to have performed at the Center, and suitable

The on-site projects, lead by senior composers, involve
for performance by TMC forces (that is, for small chamber
producing work quickly to develop specific, perhaps unfamiliar,
ensemble including only regular orchestral instruments,
skills and to foster close collaborations with TMC instru-
keyboards and/or voice).
New music is an important part of the program, including
mentalists, singers and conductors. Inter-Arts initiatives,
collaborations with Fellowship composers, and special projects
involving collaborations with artists from another discipline
during the annual Festival of Contemporary Music.
(including, in past years, film, dance and theater) often form
Additional guests TBD
one such project; others, such as writing in musical genres
While pianists accepted to the vocal program will concentrate
often left to specialists (small chorus, or wind ensemble, to
on vocal repertoire, there will be opportunities to collaborate
name two examples), or writing for an ensemble consisting
composition+
with instrumentalists on chamber music and other projects.
of the composers themselves, have been significant parts of
George Benjamin
the curriculum in past seasons. Performances of composers
Though a fully staged opera is not planned for 2005,
works written for on-site projects take place throughout
John Harbison, Director, 2005 Festival of Contemporary Music
works with theatrical aspects will be part of the summers
the season. Projects for 05 will be announced by December 1;
Steve Mackey
offerings. Selected Fellows will participated in a semi-staged
details, particularly information regarding pre-season work,
Bright Sheng
performance of scenes from the works of Stephen Sondheim,
will be provided at the time of acceptance into the program.
Augusta Read Thomas
and Broadway stars, with the Boston Pops. Selected Fellows
Other composition faculty work with Fellows in more tradi-
Composers present throughout the season at Tanglewood,
may additionally have the opportunity to perform with the
tional formats for periods ranging from several days to
including guests during the Festival of Contemporary Music,
Mark Morris Dance Group in special performances at Seiji
several weeks, often concentrating on the exploration of a
will also work with composition Fellows.
Ozawa Hall. (See page 10, Special Projects)
specific compositional issue or challenge. The program also
to be performed in the Shed by a combined cast of Fellows
includes classes for the composition Fellows by BSO musicians

(often on less familiar instruments, as requested by Fellows),

librarians and artistic administrators, resident performance
faculty who are new music specialists, and experts from the
field in the areas of publishing, licensing, and more.
The Summer I spent at Tanglewood was probably the most important and productive of my student years.
The incredible beauty of the setting, being exposed to such a rich and diverse range of music making, the quality
I was born as a composer in Tanglewood. Eight weeks there taught me far more than the many years I had
of instruction, the level of accomplishment among my peers . . . all these things provided constant inspiration.
spent at music schools, and rekindled the sense of wonder that got me started in music.
Dawn Upshaw, Vocal Fellow 1983
Osvaldo Golijov, Composition Fellow 1990
7
voice and vocal piano fellowships
composition fellowships
TMC vocal Fellows study and perform art song, vocal chamber
vocal music+
The TMC Composition Program balances intensive on-site
Each fellowship composer will have one previously composed
Phyllis Curtin, soprano
projects with classes, seminars, and discussions lead by
acoustic chamber work performed during the season on a
distinguished composers from a wide range of aesthetic
regular TMC concert. Therefore, as part of the application
perspectives.
package, composers should include at least one work which
music, and opera. Coaches include members of the TMC

resident vocal faculty as well as artists from the instrumental
and other programs; master classes with Phyllis Curtin are
held on a regular basis, and visiting singers and pianists, as
well as resident faculty, present classes in specific areas of
the repertoire. Vocal Fellows with have the opportunity to
work with James Levine, the new Music Director of the BSO.

Kayo Iwama, vocal coach and vocal program coordinator
William Sharp, baritone
Lucy Shelton, soprano
they would like to have performed at the Center, and suitable

The on-site projects, lead by senior composers, involve
for performance by TMC forces (that is, for small chamber
producing work quickly to develop specific, perhaps unfamiliar,
ensemble including only regular orchestral instruments,
skills and to foster close collaborations with TMC instru-
keyboards and/or voice).
New music is an important part of the program, including
mentalists, singers and conductors. Inter-Arts initiatives,
collaborations with Fellowship composers, and special projects
involving collaborations with artists from another discipline
during the annual Festival of Contemporary Music.
(including, in past years, film, dance and theater) often form
Additional guests TBD
one such project; others, such as writing in musical genres
While pianists accepted to the vocal program will concentrate
often left to specialists (small chorus, or wind ensemble, to
on vocal repertoire, there will be opportunities to collaborate
name two examples), or writing for an ensemble consisting
composition+
with instrumentalists on chamber music and other projects.
of the composers themselves, have been significant parts of
George Benjamin
the curriculum in past seasons. Performances of composers
Though a fully staged opera is not planned for 2005,
works written for on-site projects take place throughout
John Harbison, Director, 2005 Festival of Contemporary Music
works with theatrical aspects will be part of the summers
the season. Projects for 05 will be announced by December 1;
Steve Mackey
offerings. Selected Fellows will participated in a semi-staged
details, particularly information regarding pre-season work,
Bright Sheng
performance of scenes from the works of Stephen Sondheim,
will be provided at the time of acceptance into the program.
Augusta Read Thomas
and Broadway stars, with the Boston Pops. Selected Fellows
Other composition faculty work with Fellows in more tradi-
Composers present throughout the season at Tanglewood,
may additionally have the opportunity to perform with the
tional formats for periods ranging from several days to
including guests during the Festival of Contemporary Music,
Mark Morris Dance Group in special performances at Seiji
several weeks, often concentrating on the exploration of a
will also work with composition Fellows.
Ozawa Hall. (See page 10, Special Projects)
specific compositional issue or challenge. The program also
to be performed in the Shed by a combined cast of Fellows
includes classes for the composition Fellows by BSO musicians

(often on less familiar instruments, as requested by Fellows),

librarians and artistic administrators, resident performance
faculty who are new music specialists, and experts from the
field in the areas of publishing, licensing, and more.
The Summer I spent at Tanglewood was probably the most important and productive of my student years.
The incredible beauty of the setting, being exposed to such a rich and diverse range of music making, the quality
I was born as a composer in Tanglewood. Eight weeks there taught me far more than the many years I had
of instruction, the level of accomplishment among my peers . . . all these things provided constant inspiration.
spent at music schools, and rekindled the sense of wonder that got me started in music.
Dawn Upshaw, Vocal Fellow 1983
Osvaldo Golijov, Composition Fellow 1990
7
conducting fellowships
o r c h e st r a l i b r a r y f e l l o w s h i p
TMC fellowship conductors will have the opportunity to
during the Festival of Contemporary Music and at other
The TMC offers a unique opportunity for an emerging professional orchestra librarian of exceptional potential to study as
work and perform with the TMC Orchestra and with
times during the season, often under the supervision of
a Fellow at Tanglewood. Under the guidance of the BSO Principal Librarian, Marshall Burlingame, and the TMCO Librarian,
ensembles of TMC musicians, under the guidance of TMC
Conducting Program Coordinator Stefan Asbury. They will
the orchestra library Fellow will work with some of the worlds most important conductors (as noted on page 5), preparing
resident and guest faculty. Performances will take place
additionally be assigned as cover conductors for TMC
materials for the TMCO and for conducting classes. They will attend sessions on music acquisition and preparation.
on regular TMC Orchestra and chamber music concerts, as
Orchestra concerts, and will observe both the BSO and the
part of the Festival of Contemporary Music, and as part of
TMCO in rehearsal throughout the season.
the residency by the Mark Morris Dance Group (see page 10,
Special Projects).
Additional classes for conducting Fellows will include
Up to four conducting Fellows will be chosen, selected by
librarians and musicians.
sessions with BSO administrative and artistic leadership,
audio engineering fellowship
the committee on the basis of submitted videotapes and

letters of recommendation.
An individual who is considering a career in audio recording and/or live sound reinforcement, with emphasis in classical music,
Conducting Fellows will take part in classes and discussions
will gain valuable real-life working experience during the Tanglewood Audio Departments fellowship program. Virtually every
under the tutelage of major conductors, in 05 to include
c o n d u c t i n g fa c u lt y a n d g u e st s +
concert at Tanglewood is recorded for the BSO archives, and many events are broadcast live or are taped for broadcast. In addition,
James Levine, Kurt Masur, Rafael Frhbeck de Burgos, Ingo
most Tanglewood events are sound-reinforced for outdoor lawn audiences, including every BSO performance in the
Metzmacher, and others. Classes, using a small orchestra,
and project coach, new music
Koussevitzky Music Shed. Under the guidance of Timothy Martyn, Technical Director/Chief Engineer, Tanglewood Audio
will focus on specific, pre-assigned repertoire. There will be
Department, the audio engineering Fellow will assist the Department with a broad spectrum of activities, and will have an
opportunity to learn and refine audio skills while working in a truly world-class musical environment.
additional opportunities for meetings and discussions with
other renowned BSO guest conductors. All conducting
Kurt Masur
Fellows will prepare and perform contemporary works, both
Ingo Metzmacher
auditor program
Tanglewood is a true utopia. I learned immeasurable amounts performing,
rehearsing, and especially observing. Conducting the TMC Orchestra is the highlight
of my musical career thus far. It was a gift to be a sponge and absorb all that
The TMC will accept a limited number of auditors throughout the summer, who will have the opportunity to observe
rehearsals, master classes, and concerts at Tanglewood. Starting March 15, 2005, please contact the TMC office for program
information at (617) 638-9230 or tmc@bso.org.
Tanglewood has to offer.

James Gaffigan, Assistant Conductor, The Cleveland Orchestra; Fellow 2003
8
9
conducting fellowships
o r c h e st r a l i b r a r y f e l l o w s h i p
TMC fellowship conductors will have the opportunity to
during the Festival of Contemporary Music and at other
The TMC offers a unique opportunity for an emerging professional orchestra librarian of exceptional potential to study as
work and perform with the TMC Orchestra and with
times during the season, often under the supervision of
a Fellow at Tanglewood. Under the guidance of the BSO Principal Librarian, Marshall Burlingame, and the TMCO Librarian,
ensembles of TMC musicians, under the guidance of TMC
Conducting Program Coordinator Stefan Asbury. They will
the orchestra library Fellow will work with some of the worlds most important conductors (as noted on page 5), preparing
resident and guest faculty. Performances will take place
additionally be assigned as cover conductors for TMC
materials for the TMCO and for conducting classes. They will attend sessions on music acquisition and preparation.
on regular TMC Orchestra and chamber music concerts, as
Orchestra concerts, and will observe both the BSO and the
part of the Festival of Contemporary Music, and as part of
TMCO in rehearsal throughout the season.
the residency by the Mark Morris Dance Group (see page 10,
Special Projects).
Additional classes for conducting Fellows will include
Up to four conducting Fellows will be chosen, selected by
librarians and musicians.
sessions with BSO administrative and artistic leadership,
audio engineering fellowship
the committee on the basis of submitted videotapes and

letters of recommendation.
An individual who is considering a career in audio recording and/or live sound reinforcement, with emphasis in classical music,
Conducting Fellows will take part in classes and discussions
will gain valuable real-life working experience during the Tanglewood Audio Departments fellowship program. Virtually every
under the tutelage of major conductors, in 05 to include
c o n d u c t i n g fa c u lt y a n d g u e st s +
concert at Tanglewood is recorded for the BSO archives, and many events are broadcast live or are taped for broadcast. In addition,
James Levine, Kurt Masur, Rafael Frhbeck de Burgos, Ingo
most Tanglewood events are sound-reinforced for outdoor lawn audiences, including every BSO performance in the
Metzmacher, and others. Classes, using a small orchestra,
and project coach, new music
Koussevitzky Music Shed. Under the guidance of Timothy Martyn, Technical Director/Chief Engineer, Tanglewood Audio
will focus on specific, pre-assigned repertoire. There will be
Department, the audio engineering Fellow will assist the Department with a broad spectrum of activities, and will have an
opportunity to learn and refine audio skills while working in a truly world-class musical environment.
additional opportunities for meetings and discussions with
other renowned BSO guest conductors. All conducting
Kurt Masur
Fellows will prepare and perform contemporary works, both
Ingo Metzmacher
auditor program
Tanglewood is a true utopia. I learned immeasurable amounts performing,
rehearsing, and especially observing. Conducting the TMC Orchestra is the highlight
of my musical career thus far. It was a gift to be a sponge and absorb all that
The TMC will accept a limited number of auditors throughout the summer, who will have the opportunity to observe
rehearsals, master classes, and concerts at Tanglewood. Starting March 15, 2005, please contact the TMC office for program
information at (617) 638-9230 or tmc@bso.org.
Tanglewood has to offer.

James Gaffigan, Assistant Conductor, The Cleveland Orchestra; Fellow 2003
8
9
the festival of contemporary music
g e n e r a l f e l l o w s h i p i n f o r m at i o n
Tanglewoods annual Festival of Contemporary Music (FCM) is an event famous throughout the music community for the
excellence of its performances and the breadth of its programming. Festival concerts are regularly reviewed by local, national,
and international press. For the TMC, the FCM represents an opportunity for all Fellows to concentrate on the music of our
time and to learn from and interact with both established and emerging composers of note.
The 2005 FCM will take place between August 4 and 8, including chamber music, chamber orchestra and full orchestra.
There will be a concert devoted to vocal chamber music. The Festival director will be the distinguished American composer
John Harbison. Guest conductor Ingo Metzmacher will lead one special chamber orchestra program; other guest artists,
and featured composers whose works will be particularly prominent in the Festival, will be announced at a later date.
i n v i tat i o n s
ta n g l e w o o d : l o c at i o n & t r av e l
Invitations to the Fellowship Program and all audition
Tanglewood, located in Lenox, Massachusetts, is close to
results are sent to applicants by email.
the major cities of New England and New York, with many
Results are generally sent:
options for air travel. Driving time is 1 hour from Albany, NY,
within two weeks of the last live audition date for the
instrumental and vocal fellowship programs; and
within four to six weeks of the application deadline for
and 3 hours from New York, NY. Commercial bus service to

Lenox is available from all of these cities.
the conducting, composition, audio engineering, and

orchestra library fellowships.
In addition to the performance spaces described on page 2

and many rehearsal spaces, Tanglewood is home to the
special projects in 2005

the string quartet seminar
mark morris dance group residency
Each year the TMC holds an intensive workshop in quartet
For the third year the TMC season will begin with a residency
playing which explores the repertoire from Haydn through
and collaboration with the Mark Morris Dance Group
the 20th century. Participants concentrate exclusively on
(MMDG). Together TMC Fellows, guest artists, and MMDG
studying assigned quartets during this period, with master
dancers, working under the supervision and coaching of
classes held periodically throughout. Prepared quartets will

be performed during two marathon concerts at the end of
Invited applicants are typically given two weeks to accept or
Copland Library, which houses a substantial collection of
decline the invitation to be a TMC Fellow, and must complete
books, chamber music and other scores, and recordings.
all required paperwork and pay required fees in full in order
Tanglewood also has two cafs, and gift and music shops.
to accept the invitation.
program fees & expenses
a cc o m m o dat i o n s
Mr. Morris, will prepare and present two performances of a
Tuition, housing, breakfast and dinner, and bus
Housing is provided for all of the approximately 150 TMC
program including works by Henry Cowell, Jacques Ibert, and
transportation between the dormitory and the Tanglewood
Fellows in the dormitory of the Miss Halls School in
the seminar; in some cases, work will continue leading to
Stephen Foster as well as the world premiere of Morris
campus are provided at no charge to participants for the
Pittsfield, Massachusetts, which is located 7 miles from the
performances later in the season.
new choreography to Darius Milhauds Le Creation du monde.
eight weeks of the TMC season. The costs of these are under-
Tanglewood grounds. A free, hourly bus runs between the
The residency will include movement classes for participating
written by private donation.
two locations. Fellows are welcome and encouraged to bring
Seminar faculty includes distinguished artists who are all
musicians, lead by members of the MMDG, and Q&A sessions
current or former members of major string quartets. Faculty
with Mr. Morris.
are listed below, with these affiliations.
their own cars, both for their own daily transportation, and
All applicants must send a non-refundable $60 Application
to explore the many attractions in the Berkshires.
Fee with their application materials. Those invited to the

TMC must pay a $200 Registration Fee upon their acceptance
The residential facilities consist primarily of double-room
faculty: the string quartet seminar +
boston university tanglewood institute
of a Fellowship invitation. After completion of the summer
accommodations. The few single rooms, usually about 10,
Steven Ansell violist, Muir String Quartet
Also offered at Tanglewood for younger artists ages 1518 are the
program, $50 of the $200 will be refunded, subject to
are assigned to Fellows through a lottery system. Residents
programs of the Boston University Tanglewood Institute (BUTI),
deductions in the event of damage or loss to any TMC
may bring a computer, and a fan (Miss Halls is not air-condi-
two-to-eight week programs June 19August 13. Young Artists
property. Participants are responsible for the costs of most
tioned); most other appliances are not permitted, including
Programs are offered in Orchestra and Chamber Music, Wind
lunches, transportation to and from Tanglewood at the
refrigerators, microwave ovens, televisions, and air conditioners.
beginning and end of the TMC season, and any other incidental
Breakfast and dinner are served daily in the on-site cafeteria.
expenses. There is no additional financial aid available from
Fellows may purchase their lunch either at Miss Halls or the
the Tanglewood Music Center.
Caf on the Tanglewood grounds. Other facilities at Miss
James Dunham violist, Cleveland Quartet

Norman Fischer cellist, Concord String Quartet
Sadao Harada cellist, Tokyo String Quartet
Andrew Jennings violinist, Concord String Quartet
Mark Sokol violinist, Concord String Quartet
Donald Weilerstein violinist, Cleveland Quartet
Ensemble and Chamber Music, Voice, Composition, Piano, and Harp.

Workshops take place over two-week periods, with concentrations
in orchestral instruments and string quartets. BUTI offers Adult
Halls School include performance and rehearsal spaces, a
Music Seminars (AMS) on BSO performance repertoire in the

form of weekly classes, rehearsal, and concert attendance.
computer lab with internet access, TV lounge, free laundry
residency requirements
facilities, tennis courts, and a basketball court.
For complete information, please contact:
All TMC Fellows are required to be in attendance for the full
Fellows are not required to live at Miss Halls School; however
Boston University Tanglewood Institute
duration of the festival, arriving by 5:00 p.m. on June 17, 2005
Fellows who elect not to live there are responsible for finding
855 Commonwealth Avenue
and departing on August 16, 2005. Late arrivals, early
and the entire cost of their own accommodations. Additionally,
Boston, MA 02215
departures, and absences are not permitted. Participants
the TMC cannot provide housing in the dormitory or elsewhere
Telephone: (617) 353-3386 or 1-800-643-4796
must be available for study and performance every day during
for non-Fellows, including spouses or partners of Fellows.
www.bu.edu/tanglewood
the season. Unexcused absences may constitute grounds for
Tanglewood is a major tourist destination, and finding alter-
e-mail:tanglewd@bu.edu
dismissal from the TMC.
native affordable housing for the summer may pose a challenge.
10
Hartford, CT, and Springfield, MA; 2 hours from Boston, MA;
11
the festival of contemporary music
g e n e r a l f e l l o w s h i p i n f o r m at i o n
Tanglewoods annual Festival of Contemporary Music (FCM) is an event famous throughout the music community for the
excellence of its performances and the breadth of its programming. Festival concerts are regularly reviewed by local, national,
and international press. For the TMC, the FCM represents an opportunity for all Fellows to concentrate on the music of our
time and to learn from and interact with both established and emerging composers of note.
The 2005 FCM will take place between August 4 and 8, including chamber music, chamber orchestra and full orchestra.
There will be a concert devoted to vocal chamber music. The Festival director will be the distinguished American composer
John Harbison. Guest conductor Ingo Metzmacher will lead one special chamber orchestra program; other guest artists,
and featured composers whose works will be particularly prominent in the Festival, will be announced at a later date.
i n v i tat i o n s
ta n g l e w o o d : l o c at i o n & t r av e l
Invitations to the Fellowship Program and all audition
Tanglewood, located in Lenox, Massachusetts, is close to
results are sent to applicants by email.
the major cities of New England and New York, with many
Results are generally sent:
options for air travel. Driving time is 1 hour from Albany, NY,
within two weeks of the last live audition date for the
instrumental and vocal fellowship programs; and
within four to six weeks of the application deadline for
and 3 hours from New York, NY. Commercial bus service to

Lenox is available from all of these cities.
the conducting, composition, audio engineering, and

orchestra library fellowships.
In addition to the performance spaces described on page 2

and many rehearsal spaces, Tanglewood is home to the
special projects in 2005

the string quartet seminar
mark morris dance group residency
Each year the TMC holds an intensive workshop in quartet
For the third year the TMC season will begin with a residency
playing which explores the repertoire from Haydn through
and collaboration with the Mark Morris Dance Group
the 20th century. Participants concentrate exclusively on
(MMDG). Together TMC Fellows, guest artists, and MMDG
studying assigned quartets during this period, with master
dancers, working under the supervision and coaching of
classes held periodically throughout. Prepared quartets will

be performed during two marathon concerts at the end of
Invited applicants are typically given two weeks to accept or
Copland Library, which houses a substantial collection of
decline the invitation to be a TMC Fellow, and must complete
books, chamber music and other scores, and recordings.
all required paperwork and pay required fees in full in order
Tanglewood also has two cafs, and gift and music shops.
to accept the invitation.
program fees & expenses
a cc o m m o dat i o n s
Mr. Morris, will prepare and present two performances of a
Tuition, housing, breakfast and dinner, and bus
Housing is provided for all of the approximately 150 TMC
program including works by Henry Cowell, Jacques Ibert, and
transportation between the dormitory and the Tanglewood
Fellows in the dormitory of the Miss Halls School in
the seminar; in some cases, work will continue leading to
Stephen Foster as well as the world premiere of Morris
campus are provided at no charge to participants for the
Pittsfield, Massachusetts, which is located 7 miles from the
performances later in the season.
new choreography to Darius Milhauds Le Creation du monde.
eight weeks of the TMC season. The costs of these are under-
Tanglewood grounds. A free, hourly bus runs between the
The residency will include movement classes for participating
written by private donation.
two locations. Fellows are welcome and encouraged to bring
Seminar faculty includes distinguished artists who are all
musicians, lead by members of the MMDG, and Q&A sessions
current or former members of major string quartets. Faculty
with Mr. Morris.
are listed below, with these affiliations.
their own cars, both for their own daily transportation, and
All applicants must send a non-refundable $60 Application
to explore the many attractions in the Berkshires.
Fee with their application materials. Those invited to the

TMC must pay a $200 Registration Fee upon their acceptance
The residential facilities consist primarily of double-room
faculty: the string quartet seminar +
boston university tanglewood institute
of a Fellowship invitation. After completion of the summer
accommodations. The few single rooms, usually about 10,
Steven Ansell violist, Muir String Quartet
Also offered at Tanglewood for younger artists ages 1518 are the
program, $50 of the $200 will be refunded, subject to
are assigned to Fellows through a lottery system. Residents
programs of the Boston University Tanglewood Institute (BUTI),
deductions in the event of damage or loss to any TMC
may bring a computer, and a fan (Miss Halls is not air-condi-
two-to-eight week programs June 19August 13. Young Artists
property. Participants are responsible for the costs of most
tioned); most other appliances are not permitted, including
Programs are offered in Orchestra and Chamber Music, Wind
lunches, transportation to and from Tanglewood at the
refrigerators, microwave ovens, televisions, and air conditioners.
beginning and end of the TMC season, and any other incidental
Breakfast and dinner are served daily in the on-site cafeteria.
expenses. There is no additional financial aid available from
Fellows may purchase their lunch either at Miss Halls or the
the Tanglewood Music Center.
Caf on the Tanglewood grounds. Other facilities at Miss
James Dunham violist, Cleveland Quartet

Norman Fischer cellist, Concord String Quartet
Sadao Harada cellist, Tokyo String Quartet
Andrew Jennings violinist, Concord String Quartet
Mark Sokol violinist, Concord String Quartet
Donald Weilerstein violinist, Cleveland Quartet
Ensemble and Chamber Music, Voice, Composition, Piano, and Harp.

Workshops take place over two-week periods, with concentrations
in orchestral instruments and string quartets. BUTI offers Adult
Halls School include performance and rehearsal spaces, a
Music Seminars (AMS) on BSO performance repertoire in the

form of weekly classes, rehearsal, and concert attendance.
computer lab with internet access, TV lounge, free laundry
residency requirements
facilities, tennis courts, and a basketball court.
For complete information, please contact:
All TMC Fellows are required to be in attendance for the full
Fellows are not required to live at Miss Halls School; however
Boston University Tanglewood Institute
duration of the festival, arriving by 5:00 p.m. on June 17, 2005
Fellows who elect not to live there are responsible for finding
855 Commonwealth Avenue
and departing on August 16, 2005. Late arrivals, early
and the entire cost of their own accommodations. Additionally,
Boston, MA 02215
departures, and absences are not permitted. Participants
the TMC cannot provide housing in the dormitory or elsewhere
Telephone: (617) 353-3386 or 1-800-643-4796
must be available for study and performance every day during
for non-Fellows, including spouses or partners of Fellows.
www.bu.edu/tanglewood
the season. Unexcused absences may constitute grounds for
Tanglewood is a major tourist destination, and finding alter-
e-mail:tanglewd@bu.edu
dismissal from the TMC.
native affordable housing for the summer may pose a challenge.
10
Hartford, CT, and Springfield, MA; 2 hours from Boston, MA;
11
a p p l i c at i o n d e a d l i n e s & a u d i t i o n s c h e d u l e
applicants are strongly encouraged to apply as soon as possible before the relevant
deadline and to apply online. auditions are scheduled on a first-come, first-served basis.
applying by the deadline does not guarantee an audition. many cities have high demand
and fill to capacity before the application deadline.
a p p l i c at i o n i n st r u c t i o n s & a u d i t i o n r e q u i r e m e n t s
general application information
All candidates are strongly encouraged to submit their application form online at www.bso.org/tmc (see instructions
below). If you are unable to complete the form online, please contact the TMC office at (617) 638-9230.
All other materials must be sent via U.S. Mail or bonded courier, and must include a return address. No hand-delivered
Voice / Vocal Piano

Application Deadline
Live Auditions
Boston
Cincinnati
Los Angeles
New York City
Toronto
November 12
December 5, 6
December 7
December 10
November 30,
December 14
December 8, 9
Strings
Live Auditions
Boston
Chicago
Cleveland
Houston
New York City
San Francisco
Tape Audition Deadline
packages will be accepted. Recommendation letters only may be sent by email to tmc@bso.org or by fax to (617) 638-9342.
Percussion
January 24
February 13, 14
February 18
February 17
February 19
February 15, 16
February 11
January 24
Live Auditions
Boston
Cleveland
New York City
Please make careful note of the relevant application deadline, and that required items should be received in our office on
January 31
February 25, 26
February 23
February 27, 28
January 31
or before that date. Materials must be in the TMC office, not postmarked, by the deadline date.
Candidates may apply to more than one program, but must submit a separate application for each program. The only
exception is for those who wish to audition on both clarinet and bass clarinet.
online application instructions

You may wish to review the instructions below to ensure you have all the necessary information before starting the
Harp
online application form. You will have 30 minutes to complete it. If you experience any technical problems please call us at
February 21
(617) 638-9230 or email us at tmc@bso.org.
Live Auditions
Boston
New York City
March 2
March 6
February 21
1.
Go to www.bso.org/tmc and click on Apply Online.
2. Complete the form in full. You will be asked for the
Live Auditions
Boston
Cleveland
Houston
New York City
January 24
February 18, 19
February 15
February 14
February 16, 17
January 24
Brass
Live Auditions
Boston
Chicago
Houston
Los Angeles
New York City
12
i. Payment by Credit Card: Applicants are strongly

encouraged to use a credit card to pay the application
given directly to audition committee members, and your
fee. Applications received with credit card information
Piano
attention to detail, including accuracy, spelling, and for-
will be processed on the next business day. The TMC
Application & Tape

Deadline
January 3
Live Audition (by invitation following tape round)
matting, is appreciated.
accepts payment by American Express, Discover,
a. CONTACT INFORMATION: current and permanent
MasterCard, and Visa. You will need the number,
New York City
March 5
contact information including mailing addresses, telephone numbers, and email address (an email address
b. PERSONAL INFORMATION: date of birth, social
Library Fellowship
March 21
Conducting
Application & Tape
Deadline
November 12
security number, citizenship and visa status

c. PROFESSIONAL INFORMATION: Schools attended
expiration date, and name on the card.

ii. Payment by Check, Money Order or Wire Transfer:
Applicants may select the option to send their fee
payment separately from the online application,
however your application will not be complete and
will not be processed until payment is received in our
and degrees received, principal teachers, professional
office. We cannot schedule or hold audition times
ensembles, and other festivals, including dates for all
until the application fee has been received. If you
of the above; dates of past application to and/or
select this payment option, once your application has
enrollment at the TMC
been successfully submitted, you will receive an
d. REFERENCE INFORMATION: Names, telephone numbers,
online confirmation code by email. Please include
Composition
and email addresses (optional) of three professional
this code on your check or money order so that we can
Application & Tape

Deadline
references, one of whom may be your current teacher
quickly match payment with your application. We
January 3
January 31
February 26, 27
February 22, 23
February 21
February 14
February 24
January 31
APPLICATION FEE PAYMENT INFORMATION:
following information. Please note that this information is
is required to complete the online application)
Woodwinds
f.
e. AUDITION REQUEST/INFORMATION: You will

indicate your preferences for a live audition, or if you
Audio Engineering
will send a taped audition. See page 12 for the schedule
of live audition dates and taped application deadlines.
January 24
will send a confirmation email once your payment is

received, and begin processing of your application,
including scheduling a live audition if applicable.
3. Within one hour after submitting the form, you will receive
a confirmation email from us. Please contact us if you do
not receive the confirmation email, if you accidentally
submit your application twice, or if you have any other
questions.
Information is subject to change.
13
a p p l i c at i o n d e a d l i n e s & a u d i t i o n s c h e d u l e
applicants are strongly encouraged to apply as soon as possible before the relevant
deadline and to apply online. auditions are scheduled on a first-come, first-served basis.
applying by the deadline does not guarantee an audition. many cities have high demand
and fill to capacity before the application deadline.
a p p l i c at i o n i n st r u c t i o n s & a u d i t i o n r e q u i r e m e n t s
general application information
All candidates are strongly encouraged to submit their application form online at www.bso.org/tmc (see instructions
below). If you are unable to complete the form online, please contact the TMC office at (617) 638-9230.
All other materials must be sent via U.S. Mail or bonded courier, and must include a return address. No hand-delivered
Voice / Vocal Piano

Live Auditions
Boston
Cincinnati
Los Angeles
New York City
Toronto
November 12
December 5, 6
December 7
December 10
November 30,
December 14
December 8, 9
Strings
Live Auditions
Boston
Chicago
Cleveland
Houston
New York City
San Francisco
packages will be accepted. Recommendation letters only may be sent by email to tmc@bso.org or by fax to (617) 638-9342.
Percussion
January 24
February 13, 14
February 18
February 17
February 19
February 15, 16
February 11
January 24
Live Auditions
Boston
Cleveland
New York City
Please make careful note of the relevant application deadline, and that required items should be received in our office on
January 31
February 25, 26
February 23
February 27, 28
January 31
or before that date. Materials must be in the TMC office, not postmarked, by the deadline date.
Candidates may apply to more than one program, but must submit a separate application for each program. The only
exception is for those who wish to audition on both clarinet and bass clarinet.
online application instructions

You may wish to review the instructions below to ensure you have all the necessary information before starting the
Harp
online application form. You will have 30 minutes to complete it. If you experience any technical problems please call us at
February 21
(617) 638-9230 or email us at tmc@bso.org.
Live Auditions
Boston
New York City
March 2
March 6
February 21
1.
Go to www.bso.org/tmc and click on Apply Online.
2. Complete the form in full. You will be asked for the
Live Auditions
Boston
Cleveland
Houston
New York City
January 24
February 18, 19
February 15
February 14
February 16, 17
January 24
Brass
Live Auditions
Boston
Chicago
Houston
Los Angeles
New York City
12
i. Payment by Credit Card: Applicants are strongly

encouraged to use a credit card to pay the application
given directly to audition committee members, and your
fee. Applications received with credit card information
Piano
attention to detail, including accuracy, spelling, and for-
will be processed on the next business day. The TMC
Application & Tape

Deadline
January 3
Live Audition (by invitation following tape round)
matting, is appreciated.
accepts payment by American Express, Discover,
a. CONTACT INFORMATION: current and permanent
MasterCard, and Visa. You will need the number,
New York City
March 5
contact information including mailing addresses, telephone numbers, and email address (an email address
b. PERSONAL INFORMATION: date of birth, social
Library Fellowship
March 21
Conducting
Application & Tape
Deadline
November 12
security number, citizenship and visa status

c. PROFESSIONAL INFORMATION: Schools attended
expiration date, and name on the card.

ii. Payment by Check, Money Order or Wire Transfer:
Applicants may select the option to send their fee
payment separately from the online application,
however your application will not be complete and
will not be processed until payment is received in our
and degrees received, principal teachers, professional
office. We cannot schedule or hold audition times
ensembles, and other festivals, including dates for all
until the application fee has been received. If you
of the above; dates of past application to and/or
select this payment option, once your application has
enrollment at the TMC
been successfully submitted, you will receive an
d. REFERENCE INFORMATION: Names, telephone numbers,
online confirmation code by email. Please include
Composition
and email addresses (optional) of three professional
this code on your check or money order so that we can
Application & Tape

Deadline
references, one of whom may be your current teacher
quickly match payment with your application. We
January 3
January 31
February 26, 27
February 22, 23
February 21
February 14
February 24
January 31
APPLICATION FEE PAYMENT INFORMATION:
following information. Please note that this information is
is required to complete the online application)
Woodwinds
f.
e. AUDITION REQUEST/INFORMATION: You will

indicate your preferences for a live audition, or if you
Audio Engineering
will send a taped audition. See page 12 for the schedule
of live audition dates and taped application deadlines.
January 24
will send a confirmation email once your payment is

received, and begin processing of your application,
including scheduling a live audition if applicable.
3. Within one hour after submitting the form, you will receive
a confirmation email from us. Please contact us if you do
not receive the confirmation email, if you accidentally
submit your application twice, or if you have any other
questions.
Information is subject to change.
13
voice / vocal piano
i n st r u m e n ta l
composition
Please see the General Application Information and Online
In the auditions for vocal pianists, the faculty will be looking
Application Instructions on page 13.
for exceptional pianistic ability, evidence of serious interest in

Composers should submit:
playing for singers as demonstrated by familiarity with the

vocal repertoire (indicated by the submitted repertoire list),
ALL instrumentalists should submit the following by the
completed application form, preferably online
and good sight-reading skills. Repertoire lists and rsums
application deadlines noted on page 12:
$60 application fee
should clearly indicate any operatic repertoire and experience.
Singers and vocal pianists should submit the following:
Singers and vocal pianists should bring the following
Vocal pianists must prepare one item from each of the
to the live audition:
following three categories:
current rsum
letter of recommendation from a professional musician
other than ones current teacher
complete vocal repertoire list (indicating with an asterisk
those works performed in public)
$60 application fee
$60 application fee
current rsum (must include performance ability,

training, and accomplishments on any instruments)
Pianists must also submit a recommendation letter, and
letter of recommendation
a repertoire list (see repertoire requirements for details).
two or three recent scores
Category I
one work sample recording of at least one of these
Choose one from this group, to be played in the original key
Percussionists must also submit a repertoire list
with a singer who will be provided:
(see repertoire requirements for details).
scores (see instructions below)

list of works composed over the last five years
BRAHMS Unbewegte laue Luft, Op. 57, No. 8

FAUR Green, Op. 58, No.3
See pages 17-19 for instrumental program audition
Composition applicants are strongly encouraged to submit the
R. STRAUSS Stndchen, Op. 17, No. 2
repertoire requirements.
application form and fee online, however the TMC office must
November 12, 2004. The TMC office will contact you by email
Category II
Live Auditions: The TMC office will contact you by email to
to schedule your audition within five business days of receiving
A solo piano piece of your choice, such as a movement from
schedule your audition within five business days of receiving
TMC is not responsible for, and cannot waive deadlines for
your application. Applicants to the Tanglewood Music Center
a sonata.
your application. Auditions are scheduled on a first-come,
tapes damaged in the mail. Please use adequate packaging.
first-served basis. Applications received early will have the
Composers who wish to have materials returned must
first choice of audition date and time.
enclose a self-addressed stamped envelope, large enough to
head shot
Applications for live auditions must be received no later than
receive all materials no later than January 3, 2005. Materials
vocal program must be at least 18 years old. Vocalists and

vocal pianists must audition in person; no tapes will be
Category III
accepted. All applicants should be aware of the considerable
Choose one from this group to be played in the original key
emphasis on contemporary music at Tanglewood.
Instrumentalists should bring a current rsum to the live
BERG Warm die Lfte, Op. 2, No. 4
audition.
must be in the office, not postmarked, by the deadline. The
contain all the materials and with sufficient postage. However,

TMC reserves the right to keep all submitted materials.
Vocal Program Audition Repertoire Requirements
COPLAND There came a wind like a bugle

Tape Auditions: The TMC office must receive a clearly
forces. however, at least one work should be suitable
Singers should present a total of four selections (art songs
HARBISON The Clouds from Mirabai Songs
labeled audiocassette tape, CD, or DAT, as well as a current
for performance at the tanglewood music center,
in three languages, one of which must be in English, and
IVES Tom Sails Away
rsum, on or before the application deadline. All materials
for a small chamber ensemble (up to six players),
must be in the office, not postmarked, by the deadline.
and no longer than 15 minutes in length. applicants
See page 17 for Tape Audition Instructions.
to the tmc composition program should be at least
from Emily Dickinson Songs
one aria). A contemporary work is required as one of the
submitted compositions may be for any performing
selections. Singers may also be asked to sight-sing. An
There is a foreign language component. Pianists will be
accompanist is provided at the audition, although singers
asked to read and/or translate for the audition committee.
may bring their own if they wish.
You will be offered a choice of French, German, Italian,
NOTE: The TMC is not responsible for, and cannot waive
Russian, or Spanish.
deadlines for tapes damaged in the mail. Please use
Work Sample Recording Instructions
adequate packaging.
Work sample recording format must be audiocassette tape,
14
18 years old.
Vocal pianists may also be asked to sight-read. Whenever
DAT, or audio CD (no MP3 or MIDI files) clearly labeled with
possible, pianists should arrange to accompany the audition
your name. On a separate sheet of paper labeled with your
of singers who are also applying to the TMC. Please indicate
name, include the list of works with date of composition,
for which singers you will play on the audition request
date of performance, instrumentation, and names of per-
section of the application so that auditions may be
formers. All applause, verbal introductions, and tuning
scheduled consecutively.
should be edited from the sample.
15
voice / vocal piano
i n st r u m e n ta l
composition
In the auditions for vocal pianists, the faculty will be looking
for exceptional pianistic ability, evidence of serious interest in

Composers should submit:
playing for singers as demonstrated by familiarity with the

vocal repertoire (indicated by the submitted repertoire list),
ALL instrumentalists should submit the following by the
and good sight-reading skills. Repertoire lists and rsums
application deadlines noted on page 12:
$60 application fee
should clearly indicate any operatic repertoire and experience.
Singers and vocal pianists should submit the following:
Singers and vocal pianists should bring the following
Vocal pianists must prepare one item from each of the
to the live audition:
following three categories:
current rsum
letter of recommendation from a professional musician
other than ones current teacher
complete vocal repertoire list (indicating with an asterisk
those works performed in public)
$60 application fee
$60 application fee
current rsum (must include performance ability,

training, and accomplishments on any instruments)
Pianists must also submit a recommendation letter, and
letter of recommendation
a repertoire list (see repertoire requirements for details).
two or three recent scores
Category I
one work sample recording of at least one of these
Choose one from this group, to be played in the original key
Percussionists must also submit a repertoire list
(see repertoire requirements for details).
scores (see instructions below)

list of works composed over the last five years
BRAHMS Unbewegte laue Luft, Op. 57, No. 8

FAUR Green, Op. 58, No.3
See pages 17-19 for instrumental program audition
Composition applicants are strongly encouraged to submit the
R. STRAUSS Stndchen, Op. 17, No. 2
repertoire requirements.
November 12, 2004. The TMC office will contact you by email
Category II
Live Auditions: The TMC office will contact you by email to
to schedule your audition within five business days of receiving
A solo piano piece of your choice, such as a movement from
schedule your audition within five business days of receiving
TMC is not responsible for, and cannot waive deadlines for
your application. Applicants to the Tanglewood Music Center
a sonata.
your application. Auditions are scheduled on a first-come,
tapes damaged in the mail. Please use adequate packaging.
first-served basis. Applications received early will have the
Composers who wish to have materials returned must
first choice of audition date and time.
head shot
Applications for live auditions must be received no later than
receive all materials no later than January 3, 2005. Materials
vocal program must be at least 18 years old. Vocalists and

vocal pianists must audition in person; no tapes will be
Category III
accepted. All applicants should be aware of the considerable
Choose one from this group to be played in the original key
emphasis on contemporary music at Tanglewood.
Instrumentalists should bring a current rsum to the live
BERG Warm die Lfte, Op. 2, No. 4
audition.
must be in the office, not postmarked, by the deadline. The
contain all the materials and with sufficient postage. However,

Vocal Program Audition Repertoire Requirements
COPLAND There came a wind like a bugle

Tape Auditions: The TMC office must receive a clearly
forces. however, at least one work should be suitable
Singers should present a total of four selections (art songs
HARBISON The Clouds from Mirabai Songs
labeled audiocassette tape, CD, or DAT, as well as a current
for performance at the tanglewood music center,
in three languages, one of which must be in English, and
IVES Tom Sails Away
rsum, on or before the application deadline. All materials
for a small chamber ensemble (up to six players),
and no longer than 15 minutes in length. applicants
See page 17 for Tape Audition Instructions.
to the tmc composition program should be at least
from Emily Dickinson Songs
one aria). A contemporary work is required as one of the
submitted compositions may be for any performing
selections. Singers may also be asked to sight-sing. An
There is a foreign language component. Pianists will be
accompanist is provided at the audition, although singers
asked to read and/or translate for the audition committee.
may bring their own if they wish.
You will be offered a choice of French, German, Italian,
NOTE: The TMC is not responsible for, and cannot waive
Russian, or Spanish.
deadlines for tapes damaged in the mail. Please use
Work Sample Recording Instructions
adequate packaging.
Work sample recording format must be audiocassette tape,
14
18 years old.
Vocal pianists may also be asked to sight-read. Whenever
DAT, or audio CD (no MP3 or MIDI files) clearly labeled with
possible, pianists should arrange to accompany the audition
your name. On a separate sheet of paper labeled with your
of singers who are also applying to the TMC. Please indicate
name, include the list of works with date of composition,
for which singers you will play on the audition request
date of performance, instrumentation, and names of per-
section of the application so that auditions may be
formers. All applause, verbal introductions, and tuning
scheduled consecutively.
should be edited from the sample.
15
conducting
instrumental repertoire requirements
audio engineering
Conductors should submit:

The following repertoire requirements pertain to both live and

taped auditions. rhl refers to a rehearsal letter or number; mm
refers to specific measure numbers; mvt refers to specific movements. Applicants may also be asked to sight-read.
$60 application fee

current rsum
Applicants for the audio engineering fellowship should
two letters of recommendation
submit:
list of repertoire conducted in public (including

ensemble, location, and date)

$60 application fee
list of repertoire studied
current rsum
one video recording; the TMC will accept:
two letters of recommendation from teachers and/or
DVD, any zone acceptable; or
employers, with contact information
VHS videotape (NTSC format) TMC will not

accept PAL or other formats
Audio engineering applicants are strongly encouraged to

submit the application form and fee online, however the
Conducting applicants are strongly encouraged to submit the
TMC office must receive all materials no later than January
24, 2005. Materials must be in the office, not postmarked,
receive all materials no later than November 12, 2004. Materials
by the deadline. The Audio Department is looking for an
must be in the office, not postmarked, by the deadline. The TMC
individual who will have completed at least one year in an
is not responsible for, and cannot waive deadlines for tapes
undergraduate music/audio program; at minimum, the
damaged in the mail. Please use adequate packaging.
applicant should be accepted for enrollment in such a
Conductors who wish to have recordings returned must
program. Finalists will be contacted for interviews, in person
wherever possible, after the application deadline. Applicants
contain the recording and with sufficient postage. However,
for the Tanglewood Music Center audio engineering fellow-
ship must be at least 18 years old.
Video Recording Instructions

The recording should demonstrate the applicants best con-
library
ducting and be no longer than 30 minutes in length. Specific
repertoire is not required for the tape, but it should include at
least two contrasting selections. The recorded material does

not have to be with a full orchestra, though an orchestra
Applicants for the orchestra library fellowship should submit:
concert is preferred; a mixed ensemble of about 15 musicians
is acceptable. The tape should focus on the conductor, not the
$60 application fee
ensemble. Applicants are also strongly encouraged to include
current rsum
rehearsal as well as performance examples. Recordings must
letter of recommendation from a supervisor
be clearly labeled with the applicants name. On a separate sheet
list of two additional references including contact
of paper labeled with your name, include the list of repertoire
information
with time stamp on the recording, date of performance, and

the name of the ensemble and/or performers. The TMC can
Library applicants are strongly encouraged to submit the
accept DVD produced with encoding for any international
zone. For videotapes, please record at standard speed, not
receive all materials no later than March 21, 2005. Materials
long-play or extended-play. Only VHS tapes in the NTSC format
will be accepted.
Finalists will be contacted for interviews, in person wherever
Tape Audition Instructions: Recordings must contain all materials,

in the order listed below. Tapes/discs and cases must be clearly
labeled with your name, and should include a separate and complete
list of contents with track numbers. All pieces should be played
unaccompanied.
Violin
1) a movement from a concerto
2) a movement of Bach
3) excerpts (all first violin):
BEETHOVEN Symphony No. 7, mvt I: mm 84-130
MOZART Quintet in C Major, K. 515, mvt III (Andante):
mm 29-40 and mm 48-51
PROKOFIEV Symphony No. 1, Classical, mvt 1 (half note = 100):
mm 1 to 4 mm after rhl E
SCHUBERT Quartet No. 15 in G major, Op. 161, mvt IV
(Allegro assai): mm 1-59 (no repeats)
STRAUSS Don Juan, mm 1 to downbeat of rhl B
WAGNER Gtterdmmerung, Act III, Immolation Scene: 5 mm
after rhl 64 to 5 after rhl 65; 11 mm before rhl 69 to rhl 70
4) tape auditions only: a movement (5 minutes) from a chamber
music performance recorded live within the past year
Viola
3) excerpts:
BRAHMS Quintet in G Major, Op. 111, mvt II (Adagio): mm 1-14
MOZART Quintet in C Major, K. 515, viola I, mvt III (Andante):
mm 40-60
rhl B to rhl C, and 8 mm before rhl I to rhl J; mvt IV: rhl E
to 7 mm before rhl G
STRAUSS Don Juan, mm 1-8, and pickup to 2 mm before
rhl A to rhl B
WAGNER Gtterdmmerung, Act III, Immolation Scene:
13 mm before rhl 69 to rhl 70
Cello
3) excerpts:
BEETHOVEN Symphony 6; mvt IV; 6 mm before rhl D
to 16 mm after rhl D (mm 35-56)
BRAHMS Quintet for Clarinet and Stings Op. 115, mvt I: 3 mm
after rhl H to 11 mm after rhl H (mm 129-136); mvt IV: rhl A to
rhl B (mm 33-64), no repeat
HAYDN String Quartet in C Major, Op. 20, No. 2, mvt I: mm 1-7;
mvt II: mm 1-8
PROKOFIEV Symphony No. 1, Classical, mvt IV; 1 mm
before rhl 54 to 5 mm after rhl 55
STRAUSS Don Juan; un poco piu lento before rhl G to
rhl H (mm 148-168)
Double Bass
1) a movement from a concerto or comparable solo
3) excerpts:
BEETHOVEN Symphony No. 9, last mvt: complete recitative
MOZART Symphony No. 35, mvt IV: mm 1-37 and mm 134-140
SCHUBERT Trout Quintet, mvt IV: Variation III without
pause to Variation IV rhl P
STRAUSS Don Juan: rhl F to 4 mm before rhl G; and 7 mm
after rhl O to rhl S
TCHAIKOVSKY Symphony No. 4, mvt I: rhl B to rhl C, and
rhl P to 8 mm after rhl Q
Flute
1) a Mozart concerto first movement exposition
2) a contemporary solo (for taped audition,
record approximately 5 minutes)
3) excerpts (all first flute):
BACH St. Matthew Passion, BWV 244: Aria: Aus Liebe will
mein Heiland sterben
BARTK Concerto for Orchestra, mvt I: mm 1-35; mvt II:
mm 60-87; mvt IV: mm 139-144
BEETHOVEN Leonore Overture No. 3: mm 328-360 (29 mm
after rhl E to 18 mm before rhl F); Introduction: complete
BRAHMS Symphony No. 4, mvt IV: mm 93-105
PROKOFIEV Symphony No. 1, mvt II: rhl B through first bar
of reh C; mvt IV: rhl K through ninth bar of rhl L
MENDELSSOHN A Midsummer Nights Dream, Scherzo
RAVEL Daphnis et Chlo Suite No. 2: 3 mm after rhl 176
to rhl 179
STRAUSS Till Eulenspiegel: rhl 6 to rhl 8, and rhl 33 to rhl 35
possible, after the application deadline. Finalists will also be

The committee will make invitations based on submitted
asked to complete a bowing sample, instructions for which
recordings and recommendations. Live auditions are not
will be provided. Applicants for the Tanglewood Music Center
scheduled at this time.
orchestra library fellowship must be at least 18 years old.
16
17
conducting
instrumental repertoire requirements
audio engineering
Conductors should submit:

The following repertoire requirements pertain to both live and

taped auditions. rhl refers to a rehearsal letter or number; mm
refers to specific measure numbers; mvt refers to specific movements. Applicants may also be asked to sight-read.
$60 application fee

current rsum
Applicants for the audio engineering fellowship should
two letters of recommendation
submit:
list of repertoire conducted in public (including

ensemble, location, and date)

$60 application fee
list of repertoire studied
current rsum
one video recording; the TMC will accept:
two letters of recommendation from teachers and/or
DVD, any zone acceptable; or
employers, with contact information
VHS videotape (NTSC format) TMC will not

accept PAL or other formats
Audio engineering applicants are strongly encouraged to

submit the application form and fee online, however the
Conducting applicants are strongly encouraged to submit the
TMC office must receive all materials no later than January
24, 2005. Materials must be in the office, not postmarked,
receive all materials no later than November 12, 2004. Materials
by the deadline. The Audio Department is looking for an
must be in the office, not postmarked, by the deadline. The TMC
individual who will have completed at least one year in an
is not responsible for, and cannot waive deadlines for tapes
undergraduate music/audio program; at minimum, the
damaged in the mail. Please use adequate packaging.
applicant should be accepted for enrollment in such a
Conductors who wish to have recordings returned must
program. Finalists will be contacted for interviews, in person
wherever possible, after the application deadline. Applicants
contain the recording and with sufficient postage. However,
for the Tanglewood Music Center audio engineering fellow-
ship must be at least 18 years old.
Video Recording Instructions

The recording should demonstrate the applicants best con-
library
ducting and be no longer than 30 minutes in length. Specific
repertoire is not required for the tape, but it should include at
least two contrasting selections. The recorded material does

not have to be with a full orchestra, though an orchestra
Applicants for the orchestra library fellowship should submit:
concert is preferred; a mixed ensemble of about 15 musicians
is acceptable. The tape should focus on the conductor, not the
$60 application fee
ensemble. Applicants are also strongly encouraged to include
current rsum
rehearsal as well as performance examples. Recordings must
letter of recommendation from a supervisor
be clearly labeled with the applicants name. On a separate sheet
list of two additional references including contact
of paper labeled with your name, include the list of repertoire
information
with time stamp on the recording, date of performance, and

the name of the ensemble and/or performers. The TMC can
Library applicants are strongly encouraged to submit the
accept DVD produced with encoding for any international
zone. For videotapes, please record at standard speed, not
receive all materials no later than March 21, 2005. Materials
long-play or extended-play. Only VHS tapes in the NTSC format
will be accepted.
Finalists will be contacted for interviews, in person wherever
Tape Audition Instructions: Recordings must contain all materials,

in the order listed below. Tapes/discs and cases must be clearly
labeled with your name, and should include a separate and complete
list of contents with track numbers. All pieces should be played
unaccompanied.
Violin
3) excerpts (all first violin):
BEETHOVEN Symphony No. 7, mvt I: mm 84-130
MOZART Quintet in C Major, K. 515, mvt III (Andante):
mm 29-40 and mm 48-51
mm 1 to 4 mm after rhl E
SCHUBERT Quartet No. 15 in G major, Op. 161, mvt IV
(Allegro assai): mm 1-59 (no repeats)
STRAUSS Don Juan, mm 1 to downbeat of rhl B
WAGNER Gtterdmmerung, Act III, Immolation Scene: 5 mm
after rhl 64 to 5 after rhl 65; 11 mm before rhl 69 to rhl 70
Viola
3) excerpts:
BRAHMS Quintet in G Major, Op. 111, mvt II (Adagio): mm 1-14
MOZART Quintet in C Major, K. 515, viola I, mvt III (Andante):
mm 40-60
rhl B to rhl C, and 8 mm before rhl I to rhl J; mvt IV: rhl E
to 7 mm before rhl G
STRAUSS Don Juan, mm 1-8, and pickup to 2 mm before
rhl A to rhl B
WAGNER Gtterdmmerung, Act III, Immolation Scene:
13 mm before rhl 69 to rhl 70
Cello
3) excerpts:
BEETHOVEN Symphony 6; mvt IV; 6 mm before rhl D
to 16 mm after rhl D (mm 35-56)
BRAHMS Quintet for Clarinet and Stings Op. 115, mvt I: 3 mm
after rhl H to 11 mm after rhl H (mm 129-136); mvt IV: rhl A to
rhl B (mm 33-64), no repeat
HAYDN String Quartet in C Major, Op. 20, No. 2, mvt I: mm 1-7;
mvt II: mm 1-8
PROKOFIEV Symphony No. 1, Classical, mvt IV; 1 mm
STRAUSS Don Juan; un poco piu lento before rhl G to
rhl H (mm 148-168)
Double Bass
1) a movement from a concerto or comparable solo
3) excerpts:
BEETHOVEN Symphony No. 9, last mvt: complete recitative
MOZART Symphony No. 35, mvt IV: mm 1-37 and mm 134-140
SCHUBERT Trout Quintet, mvt IV: Variation III without
pause to Variation IV rhl P
STRAUSS Don Juan: rhl F to 4 mm before rhl G; and 7 mm
after rhl O to rhl S
TCHAIKOVSKY Symphony No. 4, mvt I: rhl B to rhl C, and
rhl P to 8 mm after rhl Q
Flute
1) a Mozart concerto first movement exposition
2) a contemporary solo (for taped audition,
record approximately 5 minutes)
3) excerpts (all first flute):
BACH St. Matthew Passion, BWV 244: Aria: Aus Liebe will
mein Heiland sterben
BARTK Concerto for Orchestra, mvt I: mm 1-35; mvt II:
mm 60-87; mvt IV: mm 139-144
BEETHOVEN Leonore Overture No. 3: mm 328-360 (29 mm
after rhl E to 18 mm before rhl F); Introduction: complete
BRAHMS Symphony No. 4, mvt IV: mm 93-105
PROKOFIEV Symphony No. 1, mvt II: rhl B through first bar
of reh C; mvt IV: rhl K through ninth bar of rhl L
MENDELSSOHN A Midsummer Nights Dream, Scherzo
RAVEL Daphnis et Chlo Suite No. 2: 3 mm after rhl 176
to rhl 179
STRAUSS Till Eulenspiegel: rhl 6 to rhl 8, and rhl 33 to rhl 35
possible, after the application deadline. Finalists will also be

The committee will make invitations based on submitted
asked to complete a bowing sample, instructions for which
recordings and recommendations. Live auditions are not
will be provided. Applicants for the Tanglewood Music Center
scheduled at this time.
orchestra library fellowship must be at least 18 years old.
16
17
Oboe
1) Mozart Oboe Concerto - first movement exposition
2) BACH Concerto for violin, oboe & strings in C Minor,
BWV 1060 mvt ll: Adagio
3) excerpts (all first oboe):
BEETHOVEN Symphony No. 6, mvt II: mm 58-67;
mvt III: mm 40-48 and 91-122
DEBUSSY La Mer, mvt II: rhl 17 to rhl 18 and rhl 25 to rhl 26;
mvt III: 7 mm after rhl 54 to 9 mm after rhl 56
MENDELSSOHN Symphony No. 3, Scottish, mvt II: rhl A to rhl E
PROKOFIEV Symphony No. 1, Classical, mvt II: 3 mm before
rhl I to 2 mm after rhl J; mvt IV: rhl M to S
RAVEL Le tombeau de Couperin, Prelude: beginning to rhl 2;
Forlane: rhl 6 to rhl 8
SHOSTAKOVICH: Symphony No. 1, mvt III: beginning to 1 mm
after rhl 1
STRAVINSKY Pulcinella Suite, mvt II: complete; mvt VI:
Gavotta and variation 1
4) optional English horn excerpts:
BERLIOZ Roman Carnival Overture, all passages from
Andante Sostenuto
DEBUSSY Nocturnes, mvt 2 (Ftes): opening passage and rhl 2 to 4
Clarinet
1) Mozart concerto first movement exposition
2) excerpts (first clarinet except where noted):
BEETHOVEN Symphony No. 6, mvt I: mm 418-421, and mm
474-492
BEETHOVEN Symphony No. 8, mvt III: Trio (no repeat)
BRAHMS Symphony No. 3, mvt I: mm 36-46; mvt II: mm 1-22
MENDELSSOHN A Midsummer Nights Dream, Scherzo (for
tape, record only mm 1-48; mm 99-115)
RACHMANINOFF Symphony No. 2, mvt III
RAVEL Daphnis et Chlo Suite No. 2 (1st and 2nd clarinet parts):
beginning to 3 mm after rhl 157, and rhl 212 to the end
SHOSTAKOVICH Symphony No. 9, mvt II: mm 1-32; mvt III: mm 1-17
Bass Clarinet
1) Mozart clarinet or bassoon concerto (performed on bass
clarinet) first movement exposition
2) excerpts:
GROF The Grand Canyon Suite, On the Trail, rhl 2 to rhl 3;
Presto to 5 mm after rhl 13
KHACHATURIAN Piano Concerto, mvt II: mm 220 to end of solo
RAVEL Daphnis et Chlo Suite No. 2: rhl 167 (3 bars); 3 mm
before rhl 170 (1 bar); 3 mm before rhl 213 to rhl 214
W. SCHUMAN Symphony No. 3, Toccata: mm 157-203
STRAUSS Don Quixote: rhl 14 to rhl 15; 3 mm after rhl 16 to
double bar; and rhl 72 to rhl 74
STRAVINSKY The Rite of Spring: rhl 5 to 7 mm before rhl 7;
rhl 48 to rhl 49; 3 mm after rhl 140 to rhl 142
18
Bassoon
1) Mozart concerto first movement
2) excerpts (all first bassoon):
BEETHOVEN Symphony No. 4, mvt IV: solo
BERLIOZ Symphonie fantastique: rhl 52 to rhl 53; and rhl 63 to
rhl 65
MENDELSSOHN Symphony No. 3, Scottish, mvt II: mm 48-92
and mm 190-213
MOZART Le nozze di Figaro Overture: mm 101-123 and
mm 139-171
RAVEL Bolero: solo
RIMSKY-KORSAKOV Scheherazade, mvt II: opening solo and
cadenzas
STRAVINSKY The Rite of Spring: opening solo
TCHAIKOVSKY Symphony No. 4, mvt II: last 31 bars
TCHAIKOVSKY Symphony No. 6, mvt I: mm 1-12
Horn
1) Mozart 2nd or 4th concerto first movement exposition
2) PERSICHETTI Parable
3) excerpts (all first horn unless otherwise noted):
BEETHOVEN Symphony No. 6, 1st horn solos
BEETHOVEN Symphony No. 7, mvt I
BRAHMS Symphony No. 1, mvt II and mvt IV solos
SHOSTAKOVICH Symphony No. 5, mvt I: low horn tutti
and 1st horn solo (Pi mosso)
STRAUSS Der Rosenkavalier Suite
STRAUSS Ein Heldenleben: opening
STRAUSS Till Eulenspiegel: opening calls; 3rd horn call in D
A. THOMAS Overture to Mignon: solo
WAGNER Gtterdmmerung: short call from the Rhine Journey
Trumpet
1) Haydn concerto mvt I & II
2) excerpts (all first trumpet):
COPLAND Outdoor Overture: mm 16-34
DEBUSSY Ftes, Orchestral Studies International Ed. Vol. I,
p. 18, Example 3
RAVEL Piano Concerto in G, mvt I: rhl 2 to rhl 3
STRAUSS Don Juan, 5 mm after rhl F to 3 mm before rhl G
STRAVINSKY The Firebird, Kastcheis Dance: 4 mm before
rhl 2 to rhl 3; rhl 8 through 2 mm after rhl 11
WAGNER Gtterdmmerung, Act III: Funeral March
Tenor Trombone
1) a solo of your choice
2) excerpts:
MOZART Requiem, Tuba mirum, solo
STRAUSS Ein Heldenleben: rhl 57 to rhl 58; rhl 62 to 6
mm after rhl 65; rhl 69 to rhl 74 (1st trombone)
RAVEL Bolero: solo
ROSSINI William Tell Overture: storm scene
SAINT-SANS Symphony No. 3, Organ, mvt I: rhl Q to 2 mm
after rhl S
WAGNER Die Walkre, Ride of the Walkre, Act III: B major section
Bass Trombone
2) excerpts:
BERLIOZ The Damnation of Faust, Hungarian March: 6 mm
HAYDN The Creation, No. 26 Achieved is the Glorious Work: mm 1-25
STRAUSS Ein Heldenleben: rhl 51 to rhl 57; 3 mm before rhl 64
to rhl 65; rhl 71 to rhl 74
STRAUSS Till Eulenspiegel: rhl 18 to rhl 20; rhl 36 to rhl 38
WAGNER Das Rheingold, Scene 2: mm 36 to 55 (Valhalla
Motive, 4th trombone part); Scene 4: final 15 measures of the
opera (Entrance of the gods to Valhalla, 4th trombone part)
WAGNER Die Walkre, Ride of the Walkre, Act III:
B major section
Tuba
2) excerpts:
BERLIOZ Hungarian March, rhl 4 to 2 after rhl 5
GROF Cloud Burst, mvt. 5 from the Grand Canyon Suite, rhl 14
to rhl 15
PROKOFIEV Symphony No. 5, mvt I: rhl 3 to 2 mm before rhl 6
RESPIGHI Fountains of Rome
STRAUSS Till Eulenspiegel: 4 mm after rhl 37 to 4 mm before rhl 38
WAGNER Gtterdmmerung, Act III, last 20 measures of scene III
WAGNER Die Walkre, Ride of the Walkre, Act III, B major
section, mm 125-142
JOHN WILLIAMS Reivers, mm 54-74
Harp
2) a contemporary solo
3) excerpts:
RAVEL Introduction and Allegro: cadenza
STRAUSS Don Juan
WAGNER Die Walkre, Act III: Magic Fire Music
Piano
Piano applicants should be enthusiastic about the chance to work
with small and large ensembles, and to perform orchestral and
new music.
In addition to the application materials required for all instrumentalists, all pianists must submit one recommendation letter,
and a repertoire list of solo and ensemble works studied and/or
performed in the last 2 to 3 years, and an audiocassette tape or CD
(no DAT) of 40 minutes of music, containing at least the following:
1) a sonata movement of your choice
3) a work from a solo or chamber music performance recorded
live within the past year
The audition committee reserves the right to make invitations based
only on submitted recordings, or may invite finalists to a live audition.
Percussion
In addition to the application materials required for all instrumentalists, percussionists must submit a repertoire list of no more
than 1 page, listing works studied and/or performed in the last 2
years. Percussionists must prepare the following four solos in addition to all of the required excerpts listed below.
Solos
1. #6 from Keiskleiriana Book 2 by J. Delecluse for snare drum
2. a timpani solo of choice
3. a two mallet solo of choice
4.a four mallet solo from the contemporary repertoire
Timpani
BARTK Music for Strings, Percussion, and Celeste, mvt II: mm
300-340
BEETHOVEN Symphony No. 9, mvt I: mm 513 (18 mm before rhl S)
to end of mvt
MARTIN Concerto for 7 winds, timpani, percussion, and strings,
STRAUSS Der Rosenkavalier Suite, rhl 250 to rhl 256
STRAVINSKY The Rite of Spring, rhl 186 to end
TCHAIKOVSKY Symphony No. 4, mvt I: mm 333-352 (2 mm
before rhl T to 3 mm before rhl U)
WAGNER Gtterdmmerung, Funeral Music (complete)
Xylophone
BARTK Music for Strings, Percussion, and Celeste, last mvt:
mm 173-183 (at quarter note before 3/2 play double notes)
GERSHWIN Porgy and Bess Overture, Opening
HINDEMITH Kammermusik Op. 24, No. 1, Finale: mm 137-154
and mm 267-278
W. SCHUMAN Symphony No. 3, mvt IV: mm 227-247 (in octaves)
Bells
DEBUSSY La Mer, mvt II: rhl 16 to rhl 19
DUKAS The Sorcerers Apprentice, 4 mm after rhl 17 through 4
mm after rhl 19; rhl 22 to rhl 24
MOZART Magic Flute, Finale of Act I
RESPIGHI Pines of Rome, beginning through 8 mm after rhl 4;
rhl 7 through 16 mm after rhl 9
Snare Drum
1) one pp roll ca. 10"; one ff roll ca. 10", one roll pp-ff-pp
2) excerpts:
PROKOFIEV Lt. Kije Suite, 1st part, rhl 1 to rhl 2
RAVEL Alborado del grazioso: rhl 26 to rhl 27 (Tamb. Militaire
part); rhl 33 to end (Tamb. Militaire part stems down)
RIMSKY-KORSAKOV Scheherazade, mvt III: rhl D to rhl E, rhl G
to rhl I; mvt IV: rhl P to rhl R
SUPP Overture to Pique Dame, 13 mm after rhl 6 to rhl 9,
rhl 17 to rhl 19 (Payson Book Edition); or 4 mm before rhl C
to 8 mm before rhl D, and rhl H to end
SHOSTAKOVICH Symphony No. 10, mvt II: rhl 98 to end
19
Oboe
1) Mozart Oboe Concerto - first movement exposition
2) BACH Concerto for violin, oboe & strings in C Minor,
BWV 1060 mvt ll: Adagio
3) excerpts (all first oboe):
BEETHOVEN Symphony No. 6, mvt II: mm 58-67;
mvt III: mm 40-48 and 91-122
DEBUSSY La Mer, mvt II: rhl 17 to rhl 18 and rhl 25 to rhl 26;
MENDELSSOHN Symphony No. 3, Scottish, mvt II: rhl A to rhl E
PROKOFIEV Symphony No. 1, Classical, mvt II: 3 mm before
rhl I to 2 mm after rhl J; mvt IV: rhl M to S
RAVEL Le tombeau de Couperin, Prelude: beginning to rhl 2;
Forlane: rhl 6 to rhl 8
SHOSTAKOVICH: Symphony No. 1, mvt III: beginning to 1 mm
after rhl 1
STRAVINSKY Pulcinella Suite, mvt II: complete; mvt VI:
Gavotta and variation 1
4) optional English horn excerpts:
BERLIOZ Roman Carnival Overture, all passages from
Andante Sostenuto
DEBUSSY Nocturnes, mvt 2 (Ftes): opening passage and rhl 2 to 4
Clarinet
1) Mozart concerto first movement exposition
2) excerpts (first clarinet except where noted):
BEETHOVEN Symphony No. 6, mvt I: mm 418-421, and mm
474-492
BEETHOVEN Symphony No. 8, mvt III: Trio (no repeat)
BRAHMS Symphony No. 3, mvt I: mm 36-46; mvt II: mm 1-22
MENDELSSOHN A Midsummer Nights Dream, Scherzo (for
tape, record only mm 1-48; mm 99-115)
RACHMANINOFF Symphony No. 2, mvt III
RAVEL Daphnis et Chlo Suite No. 2 (1st and 2nd clarinet parts):
beginning to 3 mm after rhl 157, and rhl 212 to the end
SHOSTAKOVICH Symphony No. 9, mvt II: mm 1-32; mvt III: mm 1-17
Bass Clarinet
1) Mozart clarinet or bassoon concerto (performed on bass
clarinet) first movement exposition
2) excerpts:
GROF The Grand Canyon Suite, On the Trail, rhl 2 to rhl 3;
Presto to 5 mm after rhl 13
KHACHATURIAN Piano Concerto, mvt II: mm 220 to end of solo
RAVEL Daphnis et Chlo Suite No. 2: rhl 167 (3 bars); 3 mm
before rhl 170 (1 bar); 3 mm before rhl 213 to rhl 214
STRAUSS Don Quixote: rhl 14 to rhl 15; 3 mm after rhl 16 to
double bar; and rhl 72 to rhl 74
STRAVINSKY The Rite of Spring: rhl 5 to 7 mm before rhl 7;
rhl 48 to rhl 49; 3 mm after rhl 140 to rhl 142
18
Bassoon
1) Mozart concerto first movement
2) excerpts (all first bassoon):
BEETHOVEN Symphony No. 4, mvt IV: solo
BERLIOZ Symphonie fantastique: rhl 52 to rhl 53; and rhl 63 to
rhl 65
MENDELSSOHN Symphony No. 3, Scottish, mvt II: mm 48-92
and mm 190-213
MOZART Le nozze di Figaro Overture: mm 101-123 and
mm 139-171
RAVEL Bolero: solo
RIMSKY-KORSAKOV Scheherazade, mvt II: opening solo and
cadenzas
STRAVINSKY The Rite of Spring: opening solo
TCHAIKOVSKY Symphony No. 4, mvt II: last 31 bars
TCHAIKOVSKY Symphony No. 6, mvt I: mm 1-12
Horn
1) Mozart 2nd or 4th concerto first movement exposition
2) PERSICHETTI Parable
3) excerpts (all first horn unless otherwise noted):
BEETHOVEN Symphony No. 6, 1st horn solos
BEETHOVEN Symphony No. 7, mvt I
BRAHMS Symphony No. 1, mvt II and mvt IV solos
SHOSTAKOVICH Symphony No. 5, mvt I: low horn tutti
and 1st horn solo (Pi mosso)
STRAUSS Der Rosenkavalier Suite
STRAUSS Ein Heldenleben: opening
STRAUSS Till Eulenspiegel: opening calls; 3rd horn call in D
A. THOMAS Overture to Mignon: solo
WAGNER Gtterdmmerung: short call from the Rhine Journey
Trumpet
1) Haydn concerto mvt I & II
2) excerpts (all first trumpet):
COPLAND Outdoor Overture: mm 16-34
DEBUSSY Ftes, Orchestral Studies International Ed. Vol. I,
p. 18, Example 3
RAVEL Piano Concerto in G, mvt I: rhl 2 to rhl 3
STRAUSS Don Juan, 5 mm after rhl F to 3 mm before rhl G
STRAVINSKY The Firebird, Kastcheis Dance: 4 mm before
rhl 2 to rhl 3; rhl 8 through 2 mm after rhl 11
WAGNER Gtterdmmerung, Act III: Funeral March
Tenor Trombone
2) excerpts:
MOZART Requiem, Tuba mirum, solo
STRAUSS Ein Heldenleben: rhl 57 to rhl 58; rhl 62 to 6
mm after rhl 65; rhl 69 to rhl 74 (1st trombone)
RAVEL Bolero: solo
ROSSINI William Tell Overture: storm scene
SAINT-SANS Symphony No. 3, Organ, mvt I: rhl Q to 2 mm
after rhl S
WAGNER Die Walkre, Ride of the Walkre, Act III: B major section
Bass Trombone
2) excerpts:
BERLIOZ The Damnation of Faust, Hungarian March: 6 mm
HAYDN The Creation, No. 26 Achieved is the Glorious Work: mm 1-25
STRAUSS Ein Heldenleben: rhl 51 to rhl 57; 3 mm before rhl 64
to rhl 65; rhl 71 to rhl 74
STRAUSS Till Eulenspiegel: rhl 18 to rhl 20; rhl 36 to rhl 38
WAGNER Das Rheingold, Scene 2: mm 36 to 55 (Valhalla
Motive, 4th trombone part); Scene 4: final 15 measures of the
opera (Entrance of the gods to Valhalla, 4th trombone part)
WAGNER Die Walkre, Ride of the Walkre, Act III:
B major section
Tuba
2) excerpts:
BERLIOZ Hungarian March, rhl 4 to 2 after rhl 5
GROF Cloud Burst, mvt. 5 from the Grand Canyon Suite, rhl 14
to rhl 15
PROKOFIEV Symphony No. 5, mvt I: rhl 3 to 2 mm before rhl 6
RESPIGHI Fountains of Rome
STRAUSS Till Eulenspiegel: 4 mm after rhl 37 to 4 mm before rhl 38
WAGNER Gtterdmmerung, Act III, last 20 measures of scene III
WAGNER Die Walkre, Ride of the Walkre, Act III, B major
section, mm 125-142
JOHN WILLIAMS Reivers, mm 54-74
Harp
3) excerpts:
RAVEL Introduction and Allegro: cadenza
STRAUSS Don Juan
WAGNER Die Walkre, Act III: Magic Fire Music
Piano
Piano applicants should be enthusiastic about the chance to work
with small and large ensembles, and to perform orchestral and
new music.
In addition to the application materials required for all instrumentalists, all pianists must submit one recommendation letter,
and a repertoire list of solo and ensemble works studied and/or
performed in the last 2 to 3 years, and an audiocassette tape or CD
(no DAT) of 40 minutes of music, containing at least the following:
1) a sonata movement of your choice
3) a work from a solo or chamber music performance recorded
live within the past year
The audition committee reserves the right to make invitations based
only on submitted recordings, or may invite finalists to a live audition.
Percussion
In addition to the application materials required for all instrumentalists, percussionists must submit a repertoire list of no more
than 1 page, listing works studied and/or performed in the last 2
years. Percussionists must prepare the following four solos in addition to all of the required excerpts listed below.
Solos
1. #6 from Keiskleiriana Book 2 by J. Delecluse for snare drum
2. a timpani solo of choice
3. a two mallet solo of choice
4.a four mallet solo from the contemporary repertoire
Timpani
BARTK Music for Strings, Percussion, and Celeste, mvt II: mm
300-340
BEETHOVEN Symphony No. 9, mvt I: mm 513 (18 mm before rhl S)
to end of mvt
MARTIN Concerto for 7 winds, timpani, percussion, and strings,
STRAUSS Der Rosenkavalier Suite, rhl 250 to rhl 256
STRAVINSKY The Rite of Spring, rhl 186 to end
TCHAIKOVSKY Symphony No. 4, mvt I: mm 333-352 (2 mm
before rhl T to 3 mm before rhl U)
WAGNER Gtterdmmerung, Funeral Music (complete)
Xylophone
BARTK Music for Strings, Percussion, and Celeste, last mvt:
mm 173-183 (at quarter note before 3/2 play double notes)
GERSHWIN Porgy and Bess Overture, Opening
HINDEMITH Kammermusik Op. 24, No. 1, Finale: mm 137-154
and mm 267-278
W. SCHUMAN Symphony No. 3, mvt IV: mm 227-247 (in octaves)
Bells
DEBUSSY La Mer, mvt II: rhl 16 to rhl 19
DUKAS The Sorcerers Apprentice, 4 mm after rhl 17 through 4
mm after rhl 19; rhl 22 to rhl 24
MOZART Magic Flute, Finale of Act I
RESPIGHI Pines of Rome, beginning through 8 mm after rhl 4;
rhl 7 through 16 mm after rhl 9
Snare Drum
1) one pp roll ca. 10"; one ff roll ca. 10", one roll pp-ff-pp
2) excerpts:
PROKOFIEV Lt. Kije Suite, 1st part, rhl 1 to rhl 2
RAVEL Alborado del grazioso: rhl 26 to rhl 27 (Tamb. Militaire
part); rhl 33 to end (Tamb. Militaire part stems down)
RIMSKY-KORSAKOV Scheherazade, mvt III: rhl D to rhl E, rhl G
to rhl I; mvt IV: rhl P to rhl R
SUPP Overture to Pique Dame, 13 mm after rhl 6 to rhl 9,
rhl 17 to rhl 19 (Payson Book Edition); or 4 mm before rhl C
to 8 mm before rhl D, and rhl H to end
SHOSTAKOVICH Symphony No. 10, mvt II: rhl 98 to end
19

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music center

The Boston Symphony Orchestras

tanglewood music center

June 17 August 16, 2005

Tanglewood Music Center

Cover and principal

tanglewood music center

The Boston Symphony Orchestras Academy for Advanced Musical Study

About 150 musicians are selected annually to be Fellows of

Established in 1940 by Serge Koussevitzky, the Tanglewood

The TMC presents over 40 additional concerts throughout

Music Center (TMC) provides a unique, in-depth musical

the season, presenting orchestra, opera, chamber music,

experience for emerging professional musicians of exceptional

and vocal programs, and including a world-famous new

ability. Participants in the program, who all attend as Fellows

music festival. TMC performances take place in Ozawa Hall,

of the Music Center (with costs of tuition, room, and board

the Shed, the historic Tanglewood Theatre, and the Saarinen-

covered by their Fellowships), work with internationally

designed Chamber Music Hall.

renowned artists, including members of the Boston Symphony,

wide variety of intra- and inter-disciplinary musical projects,

The Fellowship Program is designed for experienced musicians

resident faculty, and guests.

librarian and one audio engineer. The program includes a

who have completed much or all of their formal instruction,

Orchestra (BSO), is located in the Berkshire Hills of western

intense and demanding projects undertaken at the Center.

Massachusetts, in a scenic environment of remarkable

The sole criterion for admission is musical excellence. While

beauty. The BSO performs three concerts each weekend

there is no strict upper age limit, preference is generally

during an eight-week season in the 5,000-seat Koussevitzky

shown to those between the ages of 18 and 30.

Music Shed; additional performances by outstanding

and repertoire classes for TMC Orchestra members, and coaching

soloists and ensembles are presented throughout the

The TMC is proud of its roster of distinguished alumni, many

summer, mostly in the acoustically and architecturally

remarkable 1,100-seat Seiji Ozawa Hall. TMC students may

the world. The BSO works to fulfill its commitment to the

attend all BSO performances and rehearsals, guest artist

future of the field through the TMC, one of the worlds

recitals, and most special events as part of their participation

most important educational centers for the performers

and composers of tomorrow.

2005 TMC Audition Committees +

please visit www.bso.org/tmc for updates.

tanglewood music center

The Boston Symphony Orchestras Academy for Advanced Musical Study

About 150 musicians are selected annually to be Fellows of

Established in 1940 by Serge Koussevitzky, the Tanglewood

The TMC presents over 40 additional concerts throughout

Music Center (TMC) provides a unique, in-depth musical

the season, presenting orchestra, opera, chamber music,

experience for emerging professional musicians of exceptional

and vocal programs, and including a world-famous new

ability. Participants in the program, who all attend as Fellows

music festival. TMC performances take place in Ozawa Hall,

of the Music Center (with costs of tuition, room, and board

the Shed, the historic Tanglewood Theatre, and the Saarinen-

covered by their Fellowships), work with internationally

designed Chamber Music Hall.