Study objectives

The degree program teaches a wide range of knowledge and skills that enable instrumentalists to find a place in one of the relevant artistic professional fields and to succeed there. Students learn to perform instrumentally, stylistically and musically with confidence, they build up a large and individually designed repertoire and can communicate their own artistic positions in a stage and performance context. In ensembles, they learn to contribute their skills and adapt their role appropriately and variably.

Selectable specializations

Orchestra: 8 CP in the elective area + 12 CP from the compulsory area

• The focus on orchestral subjects prepares students specifically for participation in auditions and for a professional future in the orchestra. The content builds on the corresponding compulsory modules in the Bachelor's degree in Artistic Music Studies.

New music: 14 CP in the elective area + repertoire focus on new music

• By choosing a specialization in New Music, the Master's in Artistic Music Studies can be individually designed as a specialized Master's programme in the field of contemporary artistic creation.

Do I have to choose a specialization?

No, you do not have to. It is possible to choose a specialization, but it is not mandatory.

Study objectives

The degree program teaches and acquires a wide range of knowledge and skills that enable instrumentalists to find a place in one of the relevant artistic professional fields and to succeed there. Students learn to perform instrumentally, stylistically and musically with confidence, they build up a large and individually designed repertoire and can communicate their own artistic positions in a stage and performance context. In ensembles, they learn to contribute their skills and adapt their role appropriately and variably.

Selectable specializations

New music: 10 CP in the elective area + repertoire focus on new music

• By choosing a specialization in New Music, the Master's in Artistic Music Studies can be individually designed as a specialized Master's program in the field of contemporary artistic creation.

Do I have to choose a specialization?

No, you do not have to. It is possible to choose a specialization, but it is not mandatory.

Study objectives

The degree program teaches and acquires a wide range of knowledge and skills that enable instrumentalists to find a place in one of the relevant artistic professional fields and to succeed there. Students learn to perform instrumentally, stylistically and musically with confidence, they build up a large and individually designed repertoire and can communicate their own artistic positions in a stage and performance context. In ensembles, they learn to contribute their skills and adapt their role appropriately and variably.

Selectable specializations

New music: 10 CP in the elective area + repertoire focus on new music

• By choosing a specialization in New Music, the Master's in Artistic Music Studies can be individually designed as a specialized Master's program in the field of contemporary artistic creation.

Do I have to choose a specialization?

No, you do not have to. It is possible to choose a specialization, but it is not mandatory.

Study objectives

The degree program teaches and acquires a wide range of knowledge and skills that enable instrumentalists to find a place in one of the relevant artistic professional fields and to succeed there. Students learn to perform instrumentally, stylistically and musically with confidence, they build up a large and individually designed repertoire and can communicate their own artistic positions in a stage and performance context. In ensembles, they learn to contribute their skills and adapt their role appropriately and variably.

Study objectives

Students majoring in conducting (with a focus on choral or orchestral conducting) acquire a wide range of knowledge and skills that enable conductors to find a place and succeed in one of the relevant artistic professional fields. Students learn to conduct and perform with musical confidence, build up a broad, stylistically diverse repertoire and are thus able to develop independent, reflective and meaningful interpretations based on their in-depth specialist knowledge and sense of style. In the context of rehearsals and performances, they assume responsibility, apply their analytical and organizational skills and learn to implement their musical ideas with ensembles of different sizes and levels in a clear, efficient, contemporary and pedagogically and psychologically skilful manner.

We ask you to submit a video (10-15 minutes) of you conducting from the front. Ideally in front of an ensemble, choir or orchestra. But it can also be in front of a piano. Please select several short video excerpts with repertoire from different eras. We also ask you to include a short statement in the video explaining why you would like to study conducting and why you are interested in studying at HfMDK Frankfurt.

3 pieces from 3 stylistic periods. Single movements are sufficient.

The complete program (see homepage) is not required in digital form. At least two different sets with one take per set must be submitted.

One etude of your choice. In addition, at least two works from different eras (complete works or representative excerpts of at least 10 minutes each).
Duration of the video: approx. 20-25 minutes

Works presented in the video may be performed again in the presence examination if invited.

2 works (also single movements) from 2 different epochs.
Duration 7-10 min

A 15-minute recording that should include a piece of classical music, a work of your choice and 2 orchestral parts of your choice.

1. a first movement from one of Mozart's violin concertos
2. a first or last movement from a violin concerto of the Romantic, Classical Modern or Modern periods
3. a Caprice by Paganini or Wieniawski

Total duration: at least 20 minutes

two pieces of different genres with a total of max. 10 minutes (possibly also in excerpts)

Please record at least ten minutes of your prepared audition repertoire for an application video. Each of the works from the three epochs should be represented, you can determine the excerpts (e.g. individual movements or parts) yourself. There is of course no sight-reading.

The three pieces do not have to be recorded in one take, but should come from the same recording situation (i.e. no recordings from different concerts) and be uncut.

Bassoon

• 20 min. prelude: 3 pieces from 3 stylistic periods (prepare complete works)
• Sight-reading

Horn

• 3 pieces from 3 stylistic periods (prepare whole pieces)
• Sight-reading

Clarinet

• 3 works from 3 different stylistic periods (complete works)
• Orchestral parts: Beethoven 6th Symphony, A Midsummer Night's Dream
• Sight-reading

Oboe

• A program with four complete works from different stylistic periods is submitted. The commission will select the works or excerpts to be performed.
• one staccato audition piece: either "Silken Ladder" (Rossini) without introduction or "Scottish Symphony" (Mendelssohn), free choice of the candidate
• Robert Schumann, 2nd Romance from op. 94 as compulsory piece

Trombone

• a program of approx. 20 minutes duration with works from three stylistic periods
• Sight-reading

Transverse flute

Four fully prepared pieces from different stylistic periods. An artistic statement must be recognizable, basic things (tone, articulation, intonation) must be consolidated. One piece should contain modern playing techniques.

The total duration of the examination is approx. 20 minutes. The order of the program items will be determined before the examination begins.

Trumpet

• Works from 3 different stylistic periods
• Sight-reading

Duration approx. 15-20 minutes

Tuba

• One etude of a higher level of difficulty
• A concerto (for tuba a multi-movement work)
• A multi-movement work of a higher level of difficulty from different stylistic periods
• From sight-reading

Double bass

• a classical concert
• a romantic concerto
• a sonata from the original literature or a work for double bass solo
• 6 orchestral parts

Violin

By J. S. Bach:

• Solo Sonata in G minor, 1st and 2nd movement or
• Solo Sonata in A minor, 1st and 2nd movement or
• Solo Sonata in C major, 1st and 2nd movement or
• Partita in E major: Preludio - Loure - Gavotte en rondeau or
• Partita in B minor: Chaconneor
• Partita in B minor: Allemande - Courante - Tempo di Borea

In addition:

• a first movement from one of Mozart's violin concertos
• a first movement from a violin concerto of the 19th or 20th century
• a Caprice by Paganini
• a modern work (from the Viennese School onwards, no late or neo-romantic work!)
• 2 orchestral parts
• Sight-reading

Viola

four works from four different eras including

• a first movement from a viola concerto
• one solo work (complete)
• one chamber music work/one sonata (complete)
• one free piece
• 2 orchestral pieces
• Sight-reading

Violoncello

• a concerto
• a Bach suite
• a sonata or a solo work
• 2 orchestral parts
• Sight-reading

The examination serves to determine the status of the requirements necessary for admission to a Master's degree program. These are in particular

• a level of playing technique that enables the performance of difficult literature from all relevant periods and styles.
• differentiated tonal design possibilities
• An overview of the entire repertoire from the Middle Ages to the present day
• Artistic personality with recognizable personal creative drive

Examination program with 3 works: (duration approx. 15 minutes).

• High baroque sonata or concerto on the alto recorder
• a piece from the 14th-17th century on the soprano recorder (e.g.: Estampie, Sonata or Canzone or variation work)
• a work from the 20th or 21st century.

For admission to a Master's degree course, proof of successful completion of a Bachelor's degree or equivalent course in the respective instrument must be provided. The examination serves to determine the status of the requirements necessary for admission to a Master's degree program.

These are in particular

• a level of playing technique that enables the performance of difficult literature from all relevant periods and styles
• distinctive harpsichord-specific sound development
• Overview of the harpsichord repertoire from the 16th to the late 18th century; insight into the repertoire of the 20th/21st century
• artistic personality with recognizable personal creative drive
• advanced skills in stylistically differentiated basso continuo playing

Examination program with representative works of a higher level of difficulty from at least 3 different stylistic areas (from which the commission selects music lasting approx. 15 minutes), including

• a demanding work from the 16th/17th century (e.g. Fitzwilliam's Virginal Book, Italian Toccata)
• a complete suite from the French (e.g. d'Angelbert, L. or F. Couperin, Rameau, Duphly) or German style (e.g. Partita or English Suite by J. S. Bach, Handel)
• a polyphonic piece or a work with pronounced polyphonic parts (e.g. J. S. Bach: WTK Prelude and Fugue, Toccata, or Ricercar of the 17th century or similar)
• a piece with higher/ high technical demands from the German high or late baroque or pre- and early classical period or a sonata by D. Scarlatti, Soler, Seixas or a work from the 20th/21st century.
• In addition, the primavista playing of a continuo of medium difficulty and a movement to be performed as chamber music (sheet music will be sent two weeks before the examination and a soloist will be provided) are expected.

1st round: Conducting (20 minutes)

Focus on orchestral conducting

With piano:

• B. Bartok: Hungarian Pictures Sz 97: IV. movement "Kicsit Azottan" ("Slightly Tipsy")
• W. A. Mozart: Don Giovanni, No. 2 Recitativo accompagnato "Ma qual mai soffre" bars 1-62. Please mark the vocal parts.

Please also prepare the following movements, from which the commission will then make a selection on the spot:

• J. Brahms: 1st Symphony, 1st movement
• J. Brahms: 1st Symphony, 4th movement

Focus on choral conducting

With piano:

• F. Mendelssohn Bartholdy: Elijah No. 10 (please mark the vocal parts!)

Please also prepare the following pieces, from which the commission will then make a selection on site (conducting only):

• K. Nystedt: Gloria (conducting only)
• H. Distler: Der Feuerreiter

2nd round: main instrument, singing and score playing (20 minutes)

Main instrument (10 minutes)

Please prepare four challenging works/single movements/etudes. The four pieces should be from four different eras (baroque, classical, romantic, 20th century/contemporary). The commission will make a selection of the pieces to be played.

Singing (5 minutes)

Please prepare an art song and an aria (an accompanist can be provided). If singing is your main instrument, the conditions above under "Main instrument" apply.

Score playing (5 minutes)

With focus on orchestral conducting:

Please prepare a short excerpt from a symphonic work or an opera in which it is evident that you have mastered the common transpositions (F, Bb, E flat, A flat, A). You will then be given a short four-part excerpt with transposing instruments and the usual clefs (treble, bass, alto and tenor clefs).

With focus on choral conducting:

Please prepare an excerpt from a double-choir choral score that also contains polyphonic sections (in range and difficulty as for example a movement from Brahms' Fest- und Gedenksprüche). Mark one of the vocal parts. You will then receive an easy orchestral score with transposing instruments for sight-reading.

3rd round: Rehearsal with ensemble (20 minutes)

With focus on orchestral conducting:

Please prepare the following works. The commission will decide on the spot which works you will conduct and rehearse:

• I. Stravinsky: The Soldier's Tale: IV. Little concert
• L. Dallapiccola: Piccola musica notturna
• L. v. Beethoven: 2nd Symphony, 1st movement + 2nd movement

With focus on choral conducting:

Conducting a choir rehearsal including vocal coaching based on a choral work, which will be sent to the applicants two weeks before the aptitude test.

• four works of a higher level of difficulty, from the 16th/17th, 18th, 19th and 20th centuries respectively.
• Sight-reading

• an etude of a higher level of difficulty
• a concerto
• a multi-movement work of a higher level of difficulty from different stylistic periods
• Sight-reading

Only complete works are to be prepared, except for cycles where it is customary to perform individual parts. With the exception of modern or contemporary works, the program must be performed from memory. It includes

• Works from four different stylistic periods
• additionally two etudes, including at least one by Frédéric Chopin.

The program must have a total length of approx. 45 minutes. The playing time is 10-15 minutes.

The examination serves to determine the status of the requirements necessary for admission to a Master's degree program. These are in particular

• A level of playing technique that enables the performance of difficult literature from all relevant periods and styles
• An overview of the lute repertoire from the 16th to the late 18th century.
• artistic personality with a recognizable personal creative drive
• differentiated tonal possibilities
• advanced skills in basso continuo playing

Examination program with works on at least 2 differently tuned lute instruments including a prepared continuo piece from at least 2 different stylistic areas; the commission selects music lasting approx. 15 minutes. In addition, the expected advanced skills are tested in a short sight-reading of a continuo piece.

• a work by a composer before Bach
• a large free organ work by Bach
• one trio sonata
• three chorale arrangements
• one work of the Romantic period
• one contemporary work

• Repertoire examination on the timpani, snare drum, mallet instruments (xylophone, glockenspiel, vibraphone, marimba) and "set-up piece" (repertoire examination approx. 20 minutes in total)
• Sight-reading

The examination serves to determine the status of the requirements necessary for admission to a Master's degree program. These are in particular

• a level of playing technique that enables the performance of difficult literature from all relevant periods and styles
• differentiated tonal shaping possibilities
• An overview of the viola da gamba repertoire from the 16th to the late 18th century
• artistic personality with recognizable personal creative drive

Examination program with a program of approx. 15 minutes duration, including

• German sonata of the high baroque or early classical period (e.g. Graun, J. S. Bach, C. F. Abel, C. Ph. E. Bach)
• Suite of the French High Baroque (e.g. A. Forqueray, C. d. Hervelois, M. Marais)
• Renaissance (sophisticated diminution on a madrigal, e.g. after Rognioni, Bassano, Dalla Casa)