As of February 8, 2024

AUDITION REPERTOIRE LIST for bothPreliminary (YouTube video) & Final (Live) Auditions for 2024 season■Points to note when performing audition repertoire〔Notes for the Preliminary (YouTube video) audition〕- Please prepare the music of the repertoire for the preliminary (YouTube video) audition on your own.
- All music scores are copyrighted, and the Hyogo Performing Arts Center Orchestra (HPAC) will not be able toprovide copies. However, most of the pieces are published in "Orchester Probespiel" published by Schott Music,
so please refer to this booklet. If you cannot find some pieces in this booklet, please prepare pieces by yourself,
for example, by extracting it from a pocket music score or other source.
- If a piece does not have a measure number or rehearsal mark, but specifies a whole movement, please
perform the whole movement.
- If there are no instructions regarding repetition, there is no need to repeat.
- If the score specifies Divisi (Div.), please play the upper part.
- Long rests may be skipped and the performance may go on.
- Concertos should be performed from the beginning to the development section and the cadenza, unlessotherwise specified. (No recording is required after the recapitulation.)- The recording of the concerto with or without accompaniment will not affect the results of the judging, soplease choose whatever way is easiest for you to perform.
〔Notes for the Final (Live) audition〕- Sheet music for the final round audition will be sent only to successful candidates the preliminary (YouTubevideo) audition.
- In the final audition, you must perform using the music provided by the HPAC. (However, please prepare yourown scores for the concertos.)- Playing repertoires and scope of music will be announced in the audition venue from the juries.
- There will be no piano in the audition venue. Concertos must be performed without accompaniment.

■課題曲を演奏するに当たっての注意点〔第一次（YouTubeビデオ）審査における注意点〕
・第一次審査の楽譜は各自ご準備ください。
・楽譜には著作権が設定されているため当センターからコピー等を提供できません。但し、ほとんどの課題曲はショット社発行の「Orchester Probespiel」に掲載されていますので同冊子をご参照ください。なお、「Orchester Probespiel」に掲載がない場合についてはポケットスコア等から抜粋するなど全て受験者自身でご準備くださいますようお願いします。
・演奏範囲について、小節番号やリハーサル記号等の指定が無く、楽章など全体を課題に指定している曲については、その楽章全てを演奏してください。
・指定されていない限り、繰り返し記号は繰り返さずに先に進んでください。
・楽譜にDivisi（Div.）の指定がある場合は上のパートを演奏してください。
・長い休符は読み飛ばして演奏を先に進めても問題ありません。
・協奏曲の演奏は、指定されている場合を除いて、冒頭から展開部まで、及びカデンツァを収録してください。（主題再現部以降は不要）
・レコーディングの際、協奏曲の伴奏有無は審査結果に影響しませんので演奏しやすい方法を選択してください。
〔第二次（ライブ）審査における注意点〕
・第二次審査用の楽譜は第一次（YouTubeビデオ）審査合格者のみに別途送付します。
・第二次審査では当楽団からお送りする楽譜を使用して演奏していただきます。（但し、協奏曲の楽譜は各自で準備ください）・演奏曲目や演奏箇所の指定は当日会場で指定します。
・会場にはピアノはありません。協奏曲は伴奏なしで演奏していただきます。

VIOLIN
Preliminary (YouTube video) Audition
A. Mozart Violin Concerto No. 3, 4 OR 5 – mvmt 1: exposition, and development
B. ORCHESTRA EXCERPTS (all 1st violin, unless otherwise noted)
1. Beethoven Symphony No. 9 – mvmt 2: beginning to bar 84 [2nd violin part]2. BrahmsSymphony No. 3 – mvmt 1: beginning to the 1st note of B
3. R. Strauss Don Juan – beginning to 1st note of 13 bars after C
Final (Live) Audition
A. Mozart Violin Concerto No. 3, 4 OR 5 – mvmt 1: exposition, and development
B. Brahms, Mendelssohn, Sibelius, OR Tchaikovsky Concerto – mvmt 1: exposition, and development
C. ORCHESTRA EXCERPTS (all 1st violin)
1. Beethoven Symphony No. 9 – mvmt 2: beginning to bar 84 [2nd violin part]2. Brahms
Symphony No. 3 – mvmt 1: beginning to the 1st note of B
3. Bruckner
Symphony No. 9 – mvmt 3: D to bar 64 [2nd violin part]
4. Mozart
Symphony No. 39 – mvmt 2: beginning to 1st note of bar 19 & bar 30 to 1st note of bar 38
mvmt 4: beginning to 1st note of bar 78
5. Schumann Symphony No. 2 – mvmt 2: beginning to 2nd beat of bar 46 (without repeat)
6. R. Strauss Don Juan – beginning to 1st note of 13 bars after CVIOLA

Preliminary (YouTube video) Audition
A. Stamitz Concerto OR Hoffmeister Concerto – mvmt 1: exposition, and development
B. ORCHESTRA EXCERPTS
1. BrucknerSymphony No. 4 – mvmt 2: bar 51 to 1st note of bar 83
2. MendelssohnMidsummer Night’s Dream – Scherzo: bar 17 to 1st note of bar 93
3. R. Strauss Don Juan – beginning to 1st note of 4 bars before DFinal (Live) Audition
A. Stamitz Concerto OR Hoffmeister Concerto – mvmt 1: exposition, and development
B. Bartók Concerto OR Hindemith Der Schwanendreher – mvmt 1: exposition, and development
C. ORCHESTRA EXCERPTS
1. Beethoven Symphony No. 5 – mvmt 2: beginning to C (ONLY theme and variation)
2. Brahms
Serenade No. 1 – mvmt 4: bar 26 to 1st note of bar 54 (without repeat)
3. Bruckner
Symphony No. 4 – mvmt 2: bar 51 to bar 1st note of bar 83
4. MendelssohnMidsummer Night’s Dream – Scherzo: bar 17 to 1st note of bar 93
5. Schubert
Symphony No. 4 – mvmt 4: bar 85 to bar 113; bar 373 to bar 401
6. R. Strauss Don Juan – beginning to 1st note of 4 bars before D

CELLO

Preliminary (YouTube video) Audition
A. Haydn Concerto No. 1 in C, OR No. 2 in D - mvmt 1: exposition, and development
B. ORCHESTRA EXCERPTS
1. Beethoven Symphony No. 5 – mvmt 2: beginning to C (ONLY theme and variation)
2. Smetana
The Bartered Bride Overture - beginning to A
3. R. Strauss Don Juan – beginning to C
Final (Live) Audition
A. Haydn Concerto No. 1 in C, OR No. 2 in D - mvmt 1: exposition, and development
B. Dvorak Concerto OR Schumann Concerto - mvmt 1: exposition, and development
C. ORCHESTRA EXCERPTS
1. Beethoven Symphony No. 5 – mvmt 2: beginning to C (ONLY theme and variation)
2. Brahms
Symphony No. 2 – mvmt 2: beginning to 2 bars before A
3. Smetana
The Bartered Bride Overture - beginning to A
4. R. Strauss Don Juan – beginning to C; 3 bars before G to 7 bars after G
5. R. Strauss Ein Heldenleben – beginning to 5 bars after 2
6. Verdi
Missa da Requiem – No. 3 Offertorium: beginning to bar 35

DOUBLE BASS*All repertoire must be performed by the orchestra tuning.
*すべての課題曲は、オーケストラ・チューニングで調律された楽器で演奏すること。
Preliminary (YouTube video) Audition
A. Dittersdorf Concerto OR Vaňhal Concerto – mvmt 1: exposition, and development without cadenza
B. ORCHESTRA EXCERPTS
1. Beethoven Symphony No. 5 – mvmt 3: beginning to bar 100;
3rd note of bar 140 to 1st note of bar 186 (without repeat)
2. Mahler
Symphony No. 1 – mvmt 3: bar 3 to 2 bars after 2 (*Mute required)
3. R. Strauss Ein Heldenleben – 9 to 6 bars after 12
Final (Live) Audition
A. Dittersdorf Concerto OR Vaňhal Concerto - mvmt 1: exposition, and development without cadenza
B. Bottesini Concerto OR Koussevitzky Concerto - mvmt 1: exposition, and development without cadenza
C. ORCHESTRA EXCERPTS
1. Beethoven Symphony No. 5 – mvmt 3: beginning to bar 100;
3rd note of bar 140 to 1st note of bar 186 (without repeat)
2. Beethoven Symphony No. 9 – mvmt 4: 3rd note of bar 8 to 8 to 1st beat of bar 29;
bar 38 to 2nd note of bar 90; bar 92 to 107
3. Mahler
Symphony No. 1 – mvmt 3: bar 3 to 2 bars after 2 (*Mute required)
4. Mozart
Symphony No. 40 – mvmt 1: Pickup with bar 115 to bar 138; bar 191 to 1st note of bar 220
5. R. Strauss Ein Heldenleben – 9 to 1st note of 6 bars after 12
6. Stravinsky Pulcinella – Ⅶ Vivo (Duetto): 85 to 90 (without repeat)