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Eligibility Requirements

• Must be a technically advanced music student no younger than 16 and no older than 23 years of age on December 19, 2026Ìý
• Must be enrolled full-time in an educational institution
• Must be a U.S. citizen or legal resident or be studying in the United States on an F1 visa
• Must be available, with no exceptions, from 9:00 a.m. on Saturday, December 19, through 11:30 p.m. on Monday, December 28, 2026
• May not have already participated in the seminar twice

ÌýApplication Submission Requirements

• Application form
• $35 application fee (waivers are available for those with demonstrated financial need)
• Proof of health insurance
• For applicants under 18, a permission form completed by a parent or guardian
• MP3 audio audition. (Only previous seminar participants are exempt from this requirement. These participants must submit all other required documents and the application fee by the deadline.)

Video auditions are by invitation only. Those who pass the MP3 audition will be invited to submit an audition video.Ìý

NOTE: Participation in the 2026 New York String Orchestra Seminar and seatingÌýwill be determined on the basis of the invitation-only audition video.

Instruction, local housing, transportation, and meals are provided at no cost to participants (valued at $5,000); however, all those accepted to the program must arrange and pay for their own travel to and from New York City.

Application and Audition Timeline

• July 13, 2026: The application opens.
• September 14, 2026, at 11:59 p.m. ET: The application and MP3 audition close.
• September 21, 2026: All applicants receive application status notification.
• October 12, 2026, at 11:59 p.m. ET: Invitational video auditions are due.
• November 13, 2026: All applicants are notified of their audition results.
• December 19–28, 2026: The New York String Orchestra Seminar takes place in New York City.
• December 24, 7:00 p.m.: Carnegie Hall Presents New York String Orchestra
• December 28, 8:00 p.m.: Carnegie Hall Presents New York String Orchestra

Requirements for 2026 New York String Orchestra Seminar—to be announced in late spring

NOTE: 2026 preliminary recording audition information will be posted in late spring 2026 and will include standard orchestral excerpts for each instrument, as well as excerpts selected from the 2026 repertoire:

Barber: Violin Concerto, Op. 14 (1939–1940)
Beethoven: Overture to The Creatures of Prometheus (1800–1801)
Beethoven: Piano Concerto No. 4 in G Major (1806)
Beethoven: Symphony No. 8 in F Major, Op. 93 (1812)
Coleman: Umoja—Anthem of Unity for Orchestra (2019)
Strauss:ÌýOverture to Die Fledermaus (1874)
Stravinsky:ÌýFirebird Suite (1919)—second version
Vaugh-Williams:ÌýFantasia on a Theme by Thomas Tallis (1910)

1. The application recordings should be between 10 and 15 minutes long.
2. These initial recordings must be in mp3 format (we will not accept videos or other audio formats).
3. Play the excerpts in the order listed; upload them into a single file. (You may record the excerpts as separate takes and edit them into a single file.)
4. Your recordings must be unaccompanied. We cannot accept recordings with piano.
5. Limit rests to a count of three measures.

We recommend that you listen to recordings of any of the works you are not familiar with to gain an understanding and ask your teacher for input.

Our thanks to Luck's Music Library for permission to use these excerpts. They are available for download and reference, but you may use any edition of these works.

³Õ¾±´Ç±ô¾±²Ô—

• Mozart: First movement/exposition of a concerto
• Exposition of the first movement of a contrasting concerto of choice (5 minutes maximum)
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian), Mvt 1: beginning - bar 110
• Mozart: Overture to Marriage of Figaro,Ìýmm.Ìý236 - 252

³Õ¾±´Ç±ô²¹â€”

• J. S. Bach: One movement of your choice from any suite for solo viola
• Exposition of the first movement of a contrasting concerto of choice (5 minutes maximum)
• Mendelssohn: Symphony No. 4 in A, Op. 90Ìý(Italian), Mvt 1: bar 87 - bar 124
• Mozart: Overture to Marriage of Figaro
  
  • Opening - bar 7
  • Bar 12 - bar 24

Cello -

• Exposition of the first movement of either Haydn's Cello Concerto in D major or Haydn's Cello concerto in C Major (do not include cadenza)
• Exposition of the first movement of a contrasting major concerto of choice (5 minutes maximum)
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian), Mvt 1: bar 25 - bar 51
• Mozart: Overture to Marriage of Figaro beginning - bar 7

µþ²¹²õ²õ—

• J.S. Bach: Solo cello suite of choice—one dance movement
• Contrasting concerto of choice—exposition of the first movement; no cadenza
• Mozart: Mozart Symphony No. 40 in G Minor, Mvt 1: bar 111 - bar 139
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian), Mvt 1: bar 41 - downbeat of bar 91

Flute (Flute 1)—

• J. S. Bach: Work of choice
• Contrasting solo work of choice (5 minutes maximum)
• Mendelssohn: Midsummer Night's Dream, scherzo (solo at the end)
• Mozart: Overture to the Marriage of Figaro,Ìýmm. 116 - 170

Oboe (Oboe 1)—

• J. S. Bach: Work of your choice
• Contrasting solo work of choice (5 minutes maximum)
• Brahms: Violin Concerto, Mvt 2 solo
• Rossini: La Scala di Seta
  • Andantino solo (m. 5Ìý– No. 1)
  • Allegro solo (pickup to No. 2Ìý– No. 3) (articulations at applicant's discretion)
• Mozart: Overture to the Marriage of Figaro, mm. 8 - 79

Clarinet (Clarinet 1)—

• Mozart: Clarinet Concerto, Mvt 1 exposition
• Contrasting solo work of choiceÌý(5 minutes maximum)
• Mendelssohn: Midsummer Night's Dream,Ìýscherzo (first page)
  • Beginning through B
  • D through G
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  • Mvt 2: Letter A - Letter B
  • Mvt 4: bar 12 - 1st 2 beats of 26
  • Mvt 4: Final 10 bars
• Beethoven: Symphony No. 6
  • Mvt 1:Ìý2 before K - end of solo
  • Mvt 2:Ìý1 before D - m. 78

Bassoon (Bassoon 1)—

• Mozart: Bassoon Concerto, K. 191, Mvt 1 exposition,Ìým. 35 - m. 71
• Contrasting solo work of choice (5 minutes maximum)
• Mozart:ÌýOverture to Marriage of Figaro
  • m. 101 - m. 123
  • m. 139 - m. 171
• Mendelssohn: Symphony No. 40 in A, Op. 90Ìý(Italian) -ÌýMvt 4: m. 145 - m. 170

Horn (Horn 1, except as noted below for Strauss' Don Quixote)—

• Mozart: Horn Concerto No. 2 or Horn Concerto No. 4
  • Movement 1: exposition
  • Movement 2: exposition
• Strauss: Till Eulenspiegel, opening calls
• Strauss: Don Quixote, variation 7, 4th horn
• Wagner: Siegfried, short call

Trumpet (Trumpet 1)—

• Haydn: Trumpet Concerto, Mvt 1 (exposition and development)
• Contrasting solo work of your choice (4 minutes maximum)
• Mussorgsky/Ravel: Pictures at an Exhibition, opening
• Stravinsky: Petrouchka, ballerina solo
• Respighi: Pines of Rome, offstage solo
• Mendelssohn:ÌýSymphony No. 4 in A, Op. 90 (Italian), Mvt 1: bar 497 - bar 510

Timpani: We will be auditioning timpanists for the 2026 New York String Orchestra Seminar.

Our thanks to Luck’s Music Library for making these excerpts available.

Those who pass the preliminary MP3 audition will receive an email by September 21, 2026, with instructions for completing the video audition and an informational form, as well as a link for upload.

Invitations to participate in the 2026 New York String Orchestra Seminar and seating assignmentsÌýwill be based on this invitation-only video.

NOTE: 2026 Video audition information will be posted in late spring 2026 and will include standard orchestral excerpts for each instrument, as well as excerpts selected from the 2026 repertoire:

Barber: Violin Concerto, Op. 14 (1939–1940)
Beethoven: Overture to The Creatures of Prometheus (1800–1801)
Beethoven: Piano Concerto No. 4 in G Major (1806)
Beethoven: Symphony No. 8 in F Major, Op. 93 (1812)
Coleman: Umoja—Anthem of Unity for Orchestra (2019)
Strauss:ÌýOverture to Die Fledermaus (1874)
Stravinsky:ÌýFirebird Suite (1919)—second version
Vaugh-Williams:ÌýFantasia on a Theme by Thomas Tallis (1910)

Our thanks to Luck's Music Library for permission to share these excerpts. NOTE: These are available for download for your use and reference, but you may use other editions if you choose.

1. You must submit a single video of the pieces, either played in one take in the listed order or with solo works in recorded in one take and orchestral excerpts in another; however, the two takes mustÌýbe edited into a single video before submission.
   
   Works must be played in the order listed, and you may not turn the camera off between excerpts, though you may take a moment between to prepare yourself (leaving the camera running).
   
   
2. Video auditions must be unaccompanied.
   
   
3. Do not take repeats in any of the listed repertoire.
   
   
4. Rests within an excerpt should not be counted over three bars.
   
   
5. The video audition should be between 10 and 15 minutes, including pauses between works. For this reason, we recommend that you base your solo work on the amount of time it takes you to play your assigned excerpts.
   
   

   Keep in mind that this is an orchestral program. The deciding factor between two players of equal merit is the level of preparation and execution of the repertoire excerpts. Preparation of these excerpts should be as meticulous as the preparation of the applicant's chosen solo works.

   We strongly recommend that you become familiar with the complete instrumental part for each work from which excerpts have been assigned. In some cases, the music is in the public domain, but if not, it is worth a visit to the library or the expense of purchasing a part in order to be well prepared. We also recommend listening to recordings. Follow for updates and tips.

   Your private teacher is a valuable resource. Be sure to ask for their assistance as you prepare.

   Remember: If you simply prepare the excerpt download and do not familiarize yourself further with the piece (looking at a score, acquiring a complete part, or even listening to a recording to familiarize yourself with the work, so that you can play your excerpts with knowledge of context), your audition may not be competitive.

Violin 1—

• Mozart: Concerto of choice, exposition of the first movement
• Exposition of the first movement of a contrasting work of your choice
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  • Mvt 1: beginning - bar 110
  • Mvt 2:Ìýbeginning - Letter A
  • Mvt 4:Ìýbar 22 - bar 53
• Mozart: Overture to the Marriage of Figaro
  • Beginning - bar 7
  • Bar 236 - Bar 252
• Mozart: Symphony No. 40Ìý
  • Movement 2: beginning - bar 20
• Elgar: Introduction and Allegro
  • No. 11 - No. 12
  • No. 13 - No. 15

³Õ¾±´Ç±ô²¹â€”

• J. S. Bach: One movement of choice from any suite for solo viola
• Exposition of the first movement of a contrasting concerto of choice
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  • Mvt 1:Ìýbar 87 - bar 124
  • MvtÌý1:Ìýbar 210b - bar 246
  • Mvt 2:Ìýbeginning - bar 35
  • MvtÌý4:Ìýbar 34 - bar 53
  • MvtÌý4:Ìýbar 166 - bar 195
• Mozart: Overture to the Marriage of Figaro
  • Beginning - Bar 7
  • Bar 12 - Bar 24
• Elgar: Introduction and Allegro
  • No. 11 - No. 15
  • 2 bars before No. 16 - 1 bar before No. 19

°ä±ð±ô±ô´Ç—

• Haydn:ÌýExposition of either C Major or D Major Cello Concerto (do not include cadenza)
• Exposition of the first movement of a contrasting concerto of choice
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  • MvtÌý1:Ìýbar 25 - bar 51
  • MvtÌý2:Ìýbar 96 - end
  • MvtÌý4:Ìýbar 30 - bar 53
  • Mvt 4:Ìýbar 166 - bar 180
  • MvtÌý4:Ìýbar 196 - bar 204
• Mozart: Overture to theÌýMarriage of Figaro
  • Beginning - Bar 7
• Elgar: Introduction and Allegro
  • First 4 bars
  • No. 11 - 14
  • 4 bars before No. 16 - 1 bar after No. 19

µþ²¹²õ²õ—

• J. S. Bach: Solo cello suite of choice—one dance movement
• Contrasting concerto of choice—exposition of the first movement; no cadenza
• Mozart:ÌýOverture to theÌýMarriage of Figaro
  • Bar 152 - bar 172 (Letter D)
• Mendelssohn:ÌýSymphony No. 4 in A, Op. 90 (Italian)
  • Mvt 1: bar 41 - downbeat of bar 91
• Mozart: Symphony No. 40
  • MvtÌý4:Ìýpickup to bar 29 - bar 70 (Letter A)
  • MvtÌý4: bar 219 - bar 246 (Letter F)

Flute 1—

• J. S. Bach: Work of choice
• Contrasting solo work of choice
• Mendelssohn:ÌýMidsummer Night's Dream, scherzo (solo at the end)
• Mozart:ÌýOverture to theÌýMarriage of Figaro
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  
  • Movement 1:Ìýletter D to 2nd bar of letter E
  • Movement 2:Ìýbeginning to letter A
  • Movement 4:Ìýbeginning to m. 35

Oboe 1—

• J. S. Bach: solo work of choice
• Contrasting solo work of choice
• Mozart:ÌýOverture to theÌýMarriage of Figaro
  • mm. 8 - 79
• Mozart: Symphony No. 40
  • Movement 3:ÌýEntire Trio mm. 6 - 42 (no repeats)
• Mozart:ÌýPiano Concerto No. 27, K. 595
  • Movement 1: mm. 228 - 239
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian)
  • Movement 2: mm. 1 - 27
  • Movement 4:Ìýmm. 84 - 162 (omit long rests)
• Dvořák: Violin Concerto
  • Movement 1:Ìý6 measures after letter D to 1 measure after letter E
  • Movement 2:Ìý6 measures after letter N to 13 measures after letter O

Clarinet 1 -

• Mozart: Clarinet Concerto, Mvt 1 exposition
• Contrasting solo work of your choice
• Mendelssohn: Symphony No. 4 in A, Op. 90 (Italian) [Clarinet in A]
  • Movement 2:ÌýLetter A to Letter B
  • Movement 4:ÌýBars 12-1st 2 beats of 26
  • Movement 4: Final 10 bars
• Mozart:ÌýSymphony 40
  • Movement 4: mm. 85 - 101
• Beethoven: Symphony No. 6
  
  • Movement 1:Ìý2 before K - end of solo
  • Movement 2:Ìý1 before D - m. 78

Bassoon 1—

• Mozart:ÌýBassoon Concerto, K. 191, Movement 1, exposition, m. 35 - m. 71
• Contrasting movement from a concerto, sonata, or work for bassoon alone (or étude) of your choice (5 minutes maximum)
• Mozart:ÌýOverture to theÌýMarriage of Figaro
  • mm. 101 - 123
  • mm. 139 - 171
• Mendelssohn:ÌýSymphony No. 4 in A, Op. 90 (Italian)
  • Mvt 2:ÌýBeginning to 10 before A
  • Mvt 4: mm. 145 - 170
• Mozart: Symphony No. 40
  • Mvt 1: mm. 51 – 72
• Dvořák: Violin Concerto
  • Mvt 1: 14 bars after A to 22 bars after A

Horn 1 (except as noted in Strauss Don Quixote)—

• Mozart: either Horn Concerto No. 2 or Horn Concerto No. 4
  • Mvt 1: exposition
  • Mvt 2: exposition
• Strauss: Till Eulenspiegel—opening calls
• Strauss: Don Quixote, variation 7, 4th horn
• Wagner: Siegfried—short call
• Mendelssohn:ÌýSymphony No. 4 in A, Op. 90 (Italian)
  • Mvt 3:Ìýmm. 77 - 92 (with the repeat) (horn in E)
• Mozart: Symphony No. 40
  
  • Mvt 3:ÌýMenuetto, mm. 68 - 85 (horn in F)

Trumpet 1—

• Haydn: Trumpet Concerto, Mvt 1—exposition and development
• Contrasting solo work of choice (4 minutes maximum)
• Mussorgsky/Ravel: Pictures at an Exhibition, opening
• Stravinsky: Petrouchka, ballerina solo
• Respighi: Pines of Rome, offstage solo
• Mendelssohn:ÌýSymphony No. 4 in A, Op. 90 (Italian)
  • Mvt 1:Ìýbar 497 - bar 510 (trumpet in D)

Timpani: We will be auditioning timpanists for the 2026 New York String Orchestra Seminar.

Ìý

If you have any questions, please contact us at [email protected].

Our thanks to Luck’s Music Library for making these excerpts available.

Instruction, local housing, transportation, and meals (valued at $5,000) are provided at no cost to participants; )however, all those accepted to the program must arrange and pay for their own travel to and from New York City. Local participants may choose to stay in their own homes if they wish.

• 9:00 a.m.: Charter bus from hotel to rehearsal hall
• 10:00 a.m.: Orchestra rehearsal
• 1:00 p.m.: Lunch
• 2:00 p.m.: Orchestra rehearsal
• 4:00 p.m.: Break
• 4:30 p.m.: Chamber music prep period
• 5:30 p.m.: ChamberÌý music coaching session
• 7:30 p.m.: Dinner
• 8:30 p.m.: Charter bus from rehearsal hall to hotel

NOTE: You are expected to leave your evenings available for seminar activities until 10:00 p.m. each day, as the schedule is subject to change and will vary for sectionals, rehearsals with soloists, injury avoidance workshops, special activities, and performance days.Ìý

2025 New York String Orchestra Seminar

• Edward Arron, cello—Chamber Music Society of Lincoln Center
• Eugene Drucker, violin—Emerson Quartet (retired)
• Lawrence Dutton, viola—Emerson Quartet (retired)
• Bart Feller, flute—principal, New Jersey Symphony
• Hsin-Yun Huang, viola—faculty, The Juilliard School
• Ida Kavafian, viola—Chamber Music Society of Lincoln Center
• Alan Kay, clarinet—Windscape
• Richard King, horn—Cleveland Symphony
• Kim Laskwoski, bassoon—assoc. principal, New York Philharmonic
• Nina Lee, cello—Brentano Quartet
• Kurt Muroki, bass—faculty, Indiana University
• Nokuthula Ngwenyama, viola
• Janinna Norpoth, violin—PUBLIQuartet
• Daniel Phillips, violin—Orion QuartetÌý(retired)
• Milena Pajaro van de Stadt, viola—Espressivo!
• Melissa Reardon, viola—Borromeo String Quartet
• Samuel Rhodes, viola—Juilliard Quartet (retired)
• Sharon Robinson, cello—Espressivo!
• Steven Tenenbom, viola—Orion QuartetÌý(retired)
• Nicholas Tzavaras, cello—Shanghai QuartetÌý(former)
• Peter Wiley, cello—Guarneri QuartetÌý(retired)

2026 chamber music coaches will be announced soon!

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