FELLOWSHIP INFORMATION 2014-15

Dear Friend:

So much of our responsibility as classical musicians rests in our performing with energy, insight, and generosity of expression. It is these qualities that can convince even the first time listener that coming back to another performance is worthwhile, and even essential. In this way, the past and future of our art can be preserved and strengthened.

What does it take to do that? It takes playing with confidence and conviction that gets way past the notes and makes the points that composers took the time to imagine and write down. It means recommitting yourself to the powerful musical and communicative goals which you need to have for your own personal success and for the success of this art, which we so love.

To be a successful and happy classical musician, you have to love the process of making music itself. You have to love practicing and studying, and you have to love the idea that you’re going to be doing this your entire life. Through this process, in the same way that through the process of meditation or prayer, something important happens to you which will bring you insight and fulfillment.

Be absolutely sure about your commitment to being great orchestral musicians. No one respects more than I the incredible amount of heart, savvy, and virtuosity it takes to be a “large ensemble” player. You will be amazed to discover a real sense of individuality in the work that you’re doing, that a great orchestra can offer you opportunities to feel “this is my phrase, my moment” and to discover the kind of courage it takes to carry the full expressive weight of the message in the music. If you understand when those moments are, and can find in yourself the ease and generosity of spirit that says “I want to play this for people in a way that they’ve never heard before,” you’ll really be on the track to becoming great musicians and terrific people.

You yourselves have known veterans of music who were seemingly transfigured, energized, eternally made young by their relationship to the music that they play. That’s what your goal should be: to find the relationship right now that will carry you through your life. The real story in any art is “going the distance” and establishing the habits that will sustain you as your life unfolds. No matter what unexpected, sometimes thrilling, sometimes vexing things may happen, you will have that powerful inner core to find your own way and to find colleagues who believe as idealistically as you do in the real joy of music. With them you can reshape and form the greatest possible future for our wonderful art. To truly be for music and for your colleagues is the greatest responsibility and joy an artist can have. Sincerely,Michael Tilson ThomasArtistic Director

MESSAGE FROMMICHAEL TILSON THOMAS

MISSION STATEMENTThe mission of the New World Symphony is to prepare highly gifted graduates of distinguished music programs for leadership roles in orchestras and ensemble groups throughout the world.

ABOUT THE NEW WORLD SYMPHONYThe New World Symphony has gained an international reputation for the quality and style of its multifaceted performances. Under the artistic direction of Michael Tilson Thomas, the New World Symphony regularly performs to sold-out halls at the New World Center in Miami Beach and the Knight Concert Hall at the Adrienne Arsht Center for the Performing Arts in Miami. The New World Symphony fellowship program consists of an in-depth course of performance and instructional activities designed to expand the musical and professional horizons of NWS Fellows. In the last 26 years, more than 900 musicians have participated in the fellowship program. To date, 90% of NWS alumni have embarked on careers in music, a great many in full-time orchestra positions. The New World Symphony’s 2014-2015 academic program season will begin in early September 2014 and extend until early May 2015. NWS is an accredited institutional member of the National Association of Schools of Music.

NEW WORLD CENTERThe 2010-11 season marked the grand opening of the New World Center. Designed by renowned architect Frank Gehry, this extraordinary environment has become a global hub for creative expression and collaboration, and a laboratory for generating new ideas about the way music is taught, performed, and experienced. The New World Center is a cultural meeting place as well – a second home for those who care (or are simply curious) about classical music and its future. The New World Symphony campus was Frank Gehry’s first commission in Florida, and is a landmark for American culture, attracting global attention from architecture, art and music aficionados alike.

ALUMNINWS alumni are playing with some of the world’s most outstanding orchestras. Here is a partial list of alumni names and the organizations with which they are affiliated.

VIOLINKatherine Bormann, Cleveland OrchestraDaniel Carlson, San Francisco SymphonyEllen Chen-Livingston, Pittsburgh SymphonyGlen Cherry, Boston SymphonyJason Horowitz, Boston SymphonyIn Sun Jang, San Francisco SymphonyNaomi Kazama, San Francisco SymphonyEva Kozma, Saint Louis SymphonyDennis O’Boyle, Pittsburgh SymphonyWendy Putnam, Boston SymphonyMilana Reiche, Minnesota OrchestraMarc Rovetti, Philadelphia OrchestraLaura Rowe, Detroit SymphonyMichael Sutton, Minnesota OrchestraIsabel Trautwein, Cleveland OrchestraYuko Uchiyama, Pittsburgh SymphonyShawn Weil, Saint Louis SymphonyBeth Woodside, Cleveland OrchestraSiwen Xu, Houston SymphonyChen Zhao, San Francisco Symphony

VIOLASi-Fei Cheng, Minnesota OrchestraMahoko Eguchi, National Symphony OrchestraStephen Fryxell, Cincinnati SymphonyAmy Long Kniffen, Indianapolis SymphonyAndrew Wickesberg, Pittsburgh Symphony

CELLOKari Docter, Metropolitan Opera OrchestraSébastien Gingras, San Francisco SymphonyTheodore Harvey, Dallas SymphonyJeff Hood, Dallas SymphonyBjorn Ranheim, Saint Louis SymphonyBrad Ritchie, Atlanta SymphonyPeter Steffens, Dallas SymphonyBrant Taylor, Chicago SymphonyPeter Thomas, Milwaukee Symphony

BASSBoris Astafiev, Cincinnati SymphonyDavid DiRiso, Saint Louis SymphonyScott Dixon, Cleveland OrchestraMatthew Frischman, Minnesota OrchestraTravis Gore, Seattle SymphonyErik Harris, Saint Louis SymphonyBlake Hinson, New York PhilharmonicSarah Hogan, Saint Louis SymphonyJoe Kaufman, Seattle SymphonyMichael Kurth, Atlanta SymphonyOwen Lee, Cincinnati SymphonyKathryn Nettleman, Minnesota OrchestraScott Pingel, San Francisco SymphonyKevin Switalski, Cleveland OrchestraJeffrey Weisner, National Symphony Aaron White, Pittsburgh Symphony

FLUTELisa Byrnes, Utah SymphonyAlicia DiDonato, Oregon SymphonyBrook Ferguson, Colorado SymphonyClint Foreman, Boston SymphonyMichael Gordon, Kansas City SymphonyKaren Moratz, Indianapolis SymphonyCatherine Ransom Karoly, Los Angeles PhilharmonicElizabeth Rowe, Boston SymphonyMarisela Sager, Cleveland Orchestra

OBOECarolyn Banham, Saint Louis SymphonyJames Button, Nashville SymphonyJennifer Christen, Indianapolis SymphonyJonathan Fischer, San Francisco SymphonyMonica Fosnaugh, Detroit SymphonyKristina Goettler, Kansas City SymphonyMarni Hougham, Minnesota OrchestraKathryn Meany, National SymphonyDwight Parry, Cincinnati SymphonyKaren Wagner, Oregon SymphonyKeisuke Wakao, Boston Symphony

CLARINETTad Calcara, Utah SymphonyTodd Cope, Vancouver SymphonyAlexander Laing, Phoenix SymphonyTodd Levy, Milwaukee SymphonyRaymond Santos, Kansas City SymphonyJerome Simas, San Francisco SymphonyRobert Woolfrey, Cleveland Orchestra

BASSOONSophie Dansereau, Vancouver SymphonyEric Hall, Canadian Opera CompanyStéphane Lévesque, Orchestre Symphonique de MontréalChristopher Marshall, Minnesota OrchestraPhilip Pandolfi, Pittsburgh SymphonyLori Wike, Utah Symphony

HORNMatthew Annin, Cincinnati SymphonySusanna Drake, Chicago SymphonyJulia Erdmann Hyams, Saint Louis SymphonyFritz Foss, Colorado SymphonyMichael Mayhew, Cleveland OrchestraAlberto Suarez, Kansas City SymphonyDenise Tryon, Philadelphia Orchestra

TRUMPETJustin Bartels, Colorado SymphonyBilly Hunter, Metropolitan Opera OrchestraMark Inouye, San Francisco SymphonyAdam Luftman, San Francisco Opera OrchestraChristopher Martin, Chicago SymphonyPaul Merkelo, Orchestre Symphonique de MontréalAnthony Prisk, Philadelphia OrchestraThomas Siders, Boston Symphony Orchestra

TROMBONE/BASS TROMBONENicole Abissi, Alabama SymphonyAndrew Chappell, Rochester PhilharmonicAaron LaVere, Oregon SymphonyMaciej Pietraszko, City Opera of New YorkBill Thomas, Atlanta SymphonyKenneth Thompkins, Detroit Symphony

TUBASteven Campbell, Minnesota OrchestraStephen Dumaine, National SymphonyCraig Knox, Pittsburgh SymphonyCarson McTeer, Cincinnati SymphonyRandall Montgomery, Milwaukee SymphonyDennis Nulty, Detroit Symphony

TIMPANI/PERCUSSIONJeremy Branson, Pittsburgh SymphonyJohn Burgardt, San Francisco Opera OrchestraSergio Carreno, Oregon SymphonyMark Damoulakis, Cleveland OrchestraDavid Fishlock, Cincinnati SymphonyMark Griffith, Houston SymphonyDavid Herbert, Chicago Symphony Michael Israelievitch, Saint Paul Chamber OrchestraWilliam James, Saint Louis SymphonyBrian Jones, Dallas SymphonyRobert Klieger, Milwaukee SymphonyRobert Knopper, Metropolitan Opera OrchestraChristopher McLaurin, Kansas City SymphonyPatricia Niemi, San Francisco Opera OrchestraCharles Settle, Atlanta Symphony

Thomas Sherwood, Atlanta SymphonyShannon Wood, Saint Louis Symphony

HARPElizabeth Hainen, Philadelphia OrchestraLicia Jaskunas, Nashville SymphonyTisha Murvihill, Calgary PhilharmonicJulie Smith, San Diego SymphonyLouise Vickerman, Utah SymphonyLynn Williams, Lyric Opera of Chicago Orchestra

MOST RECENT ALUMNI SUCCESSESKarin Andreasen, Violin, Winnipeg SymphonyRachel Bellairs, Library, San Diego SymphonyGeorge Curran, Bass Trombone, New York PhilharmonicMatthew Eckenhoff, Horn, Louisiana PhilharmonicAnn Fink, Violin, Saint Louis SymphonyMike Golubitsky, Audio Visual Assistant, The Colburn School Brendan Kane, Bass, Vancouver SymphonyKerry Kavalo, Viola, Symphony Nova ScotiaAngela Lee, Violin, Baltimore SymphonyBrandon McLean, Bass, Vancouver SymphonyAdam Neeley, Viola, Pacific SymphonyTravis Peterson, Trumpet, Utah SymphonyElizabeth Phelps, Violin, North Carolina SymphonyJason Shafer, Clarinet, Colorado SymphonyTristan Sutton, Bass, Bergen PhilharmonicElzbieta Weyman, Viola, New Jersey SymphonyKaren Wyatt, Violin, Utah SymphonyDaisuke Yamamoto, Violin, Richmond SymphonyAmy Soyoon Yi, Violin, KBS Symphony Orchestra (Korea)

VIOLINRenaud Capuçon, Concert ArtistRobert Chen, Chicago Symphony *Glen Cherry, Boston SymphonySteven Copes, Saint Paul Chamber OrchestraBaird Dodge, Chicago SymphonyJorja Fleezanis, Minnesota Orchestra (retired)Rainer Honeck, Vienna PhilharmonicErin Keefe, Minnesota OrchestraDavid Kim, Philadelphia OrchestraElissa Lee Koljonen, Concert ArtistKurt Nikkanen, New York City BalletAmy Oshiro-Morales, Philadelphia OrchestraCynthia Roberts, Juilliard SchoolJoel Smirnoff, Juilliard Quartet (retired)Christian Tetzlaff, Concert ArtistKathleen Winkler, Rice UniversityNancy Wu, Metropolitan OperaRafal Zambrzycki-Payne, Ensemble Modern

VIOLASteven Ansell, Boston SymphonyChoong-Jin Chang, Philadelphia OrchestraRoberto Diaz, Philadelphia Orchestra (retired)Robert Fielding, Lynn UniversityEdward Gazouleas, Boston Symphony (retired)Robert Vernon, Cleveland OrchestraJonathan Vinocour, San Francisco SymphonyStephen Wyrczynski, Philadelphia Orchestra (retired)

CELLOEric Bartlett, New York Philharmonic*Sébastien Gingras, San Francisco SymphonyDesmond Hoebig, Cleveland Orchestra (retired)Ronald Leonard, Los Angeles Philharmonic (retired)Yo-Yo Ma, Concert Artist*Bjorn Ranheim, Saint Louis SymphonyJoshua Roman, Concert ArtistPeter Stumpf, Los Angeles Philharmonic (retired)*Brant Taylor, Chicago SymphonyTamas Varga, Vienna Philharmonic

BASSMaximilian Dimoff, Cleveland OrchestraPeter Lloyd, Minnesota Orchestra (retired)Leigh Mesh, Metropolitan Opera*Scott Pingel, San Francisco SymphonyTimothy Pitts, Houston Symphony (retired)Harold Robinson, Philadelphia Orchestra

FLUTEMathieu Dufour, Chicago SymphonyJeffrey Khaner, Philadelphia Orchestra*Elizabeth Rowe, Boston SymphonyJoshua Smith, Cleveland OrchestraJames Walker, Los Angeles Philharmonic (retired)

OBOERobert Atherholt, Houston Symphony (retired)Kathryn Greenbank, Saint Paul Chamber OrchestraMark McEwen, Boston SymphonyMark Nuccio, New York PhilharmonicJoseph Robinson, New York Philharmonic (retired)

CLARINETDavid Bourque, Toronto Symphony (retired)Burt Hara, Minnesota OrchestraKari Kriikku, Concert ArtistRicardo Morales, Philadelphia OrchestraMichael Rusinek, Pittsburgh Symphony

BASSOONNancy Goeres, Pittsburgh SymphonySue Heineman, National SymphonyStéphane Lévesque, Montreal SymphonyGeorge Sakakeeny, Oberlin Conservatory

HORNJulie Landsman, Metropolitan Opera OrchestraRichard Sebring, Boston Symphony*Alberto Suarez, Kansas City SymphonyWilliam VerMeulen, Houston SymphonySarah Willis, Berlin Philharmonic

PARTIAL LIST OF RECENT VISITING FACULTY

Yo-Yo Ma master class. Ciro Fodere, NWS Piano Alumnus, Sébastien Gingras, NWS Cello Alumnus

TRUMPETJohn Burgardt, San Francisco OperaMark Gould, Metropolitan Opera Orchestra (retired)*Mark Inouye, San Francisco SymphonyCraig Morris, University of MiamiThomas Rolfs, Boston Symphony*Thomas Siders, Boston SymphonyBill Williams, Santa Fe Opera

TROMBONE/BASS TROMBONEJoseph Alessi, New York PhilharmonicIan Bousfield, Vienna Philharmonic (retired)Uwe Dierksen, Ensemble ModernJohn Engelkes, San Francisco SymphonyToby Oft, Boston Symphony

TUBASam Pilafian, University of Miami

TIMPANI/PERCUSSION*Edward Atkatz, Chicago Symphony (retired)James Babor, Los Angeles Philharmonic*Marc Damoulakis, Cleveland Orchestra*Micheal Israelievitch, Saint Paul Chamber OrchestraRainer Romer, Ensemble Modern

HARPNancy Allen, New York PhilharmonicJessica Zhou, Boston Symphony

PIANOJoela Jones, Cleveland OrchestraAnne-Marie McDermott, Concert Artist

OTHERDr. Noa Kageyama, Performance PsychologyKatherine Kramer, Movement CoachRichard Mannoia, Carnegie Hall AcademyJesse Maschmeyer, Reuning and SonGonzalo Ruiz, Baroque OboeLauren Schiff, Alexander Technique Teacher*Marc Thayer, American Voices AssociationHagit Vardi, Feldenkrais PractitionerUri Vardi, Feldenkrais PractitionerDavid Wallace, Carnegie Hall Academy

*indicates NWS alumni

PARTIAL LIST OF GUEST CONDUCTORS WHO HAVE WORKED WITH THE NEW WORLD SYMPHONY:Roberto AbbadoMarin AlsopVladimir Ashkenazy Leonard BernsteinSergiu Comissiona James Conlon Andreas Delfs Stéphane Denève Christoph Eschenbach Hans Graf Manfred Honeck Marek Janowski Paavo Järvi Zdenĕk Mácal Sir Neville Marriner Alasdair Neale John Nelson Sir Roger Norrington Peter Oundjian David Robertson Donald Runnicles Esa-Pekka Salonen Stanislaw Skrowaczewski Leonard Slatkin Robert Spano Yan Pascal Tortelier Maximiano Valdes Osmo Vänskä Hans VonkMark Wigglesworth

ORCHESTRAL ACTIVITIESThe fellowship program places major emphasis on the study, rehearsal and performance of the orchestral literature, ranging from the earliest works composed for orchestra to works commissioned for world premiere by the New World Symphony. Under the direction of Michael Tilson Thomas and leading guest conductors, NWS presents a full season of orchestral performances at the New World Center in Miami Beach and the Knight Concert Hall at the Adrienne Arsht Center for the Performing Arts in Miami. In addition, NWS holds frequent reading sessions of major orchestral repertoire to provide its Fellows with additional exposure to this literature.

AUDITION TRAININGEach year, NWS holds an intensive four-day audition preparation seminar, involving visiting coaches from major orchestras. This seminar consists of a series of audition training exercises and private audition coaching, as well as a panel discussion of the audition process from the perspective of the orchestra audition committee. In addition, Fellows organize monthly mock auditions intended to replicate the conditions of professional orchestra auditions, with the occasional participation of guest conductors and coaches. To assist Fellows in achieving optimal performance in audition and performance settings, NWS presents an annual series of workshops with psychologists Dr. Don Greene and Dr. Noa Kageyama. Their groundbreaking work with NWS Fellows includes individual training and group exercises.

BAROQUE MUSICNWS annually presents a week-long Baroque music project with diverse programs of orchestral, chamber, vocal and dance music, offering NWS Fellows the opportunity for in-depth study of Baroque performance practice with renowned period-practice specialists. These have included Ton Koopman, Bernard Labadie and Nicholas McGegan.

CHAMBER MUSICNWS Fellows are afforded multiple opportunities to study and perform chamber music under the guidance of Michael Linville, Associate Dean and Director of Chamber Music Activities. Among these are a season-long series of performances by NWS Fellows together with leading chamber music artists. Chamber music activities also include the innovative Musical Xchange series,

which serves as a vehicle for the development of public speaking and stage presence skills. At these casual, somewhat improvisatory events musicians speak informally from the stage, and lighting, audio and video effects and props are often used to add immediacy and atmosphere. Musical Xchanges offer a variety of solo and small ensemble repertoire, and Fellows work with a drama coach or stage director in creating and developing their presentations. Musicians’ Forums afford NWS Fellows valuable experience in concert promotion and production. These programs have also included solo, chamber, and chamber orchestra repertoire, as well as Fellows’ own jazz, rock and pop compositions.

COMMUNITY ENGAGEMENTTraining for community outreach is an essential part of the NWS program. Activities include professional development seminars, theoretical and practical training sessions, and a range of real-life experiences such as mentoring in local schools, performing free concerts in community centers and more, providing opportunities to communicate and connect musically with diverse audiences, as well as to establish direct personal connections while sharpening presentation, speaking and teaching skills.

CONCERTO COMPETITION AND SOLO RECITAL SERIESEach season, NWS Fellows take the spotlight performing as soloists in two types of programs. Winners of NWS’ annual concerto competition perform center stage with the orchestra in one of two Concerto Showcase programs. Fellows may also compete for a chance to perform a recital in the Solo Spotlight series. Taking place in the New World Center’s SunTrust Pavilion, these intimate presentations allow Fellows to conceive and design their own content and structure.

CONTEMPORARY MUSICIn addition to the frequent presentation of 20th- and 21st-century music on chamber and orchestral programs, a series of three performances are dedicated exclusively to contemporary repertoire for orchestra and ensembles of varying size. Conductors and composers who have led these concerts include John Adams, Thomas Adès, Reinbert de Leeuw, HK Gruber and Oliver Knussen. Guest composers who have worked with NWS include Louis Andreissen, Henri Dutilleux, John Harbison, Jennifer Higdon, Aaron Jay Kernis, Steven Mackey, Kevin Puts, Steve Reich, Joan Tower and Dan Welcher.

DOMESTIC & INTERNATIONAL TOURINGThe New World Symphony has performed around the world, appearing on tour in such prestigious venues as New York’s Carnegie Hall and Avery Fisher Hall, San Francisco’s Davies Symphony Hall, Buenos Aires’ Teatro Colon, London’s Barbican Centre, Amsterdam’s Concertgebouw, Paris’ Opéra Comique, Bastille Opera and Cité de la Musique, Rome’s Santa Cecilia and Vienna’s Konzerthaus. Such tours accustom NWS musicians to maintaining peak levels of performance in the face of intensive travel and performance schedules, and are designed to include vital training components.

INTERNET2The New World Symphony has pioneered the use of Internet2, an advanced broadband technology, in the field of arts education. Musicians give and receive lessons, work with composers, and share musical insights with specialists in related fields through this brilliant real-time digital medium.

MUSICAL COACHINGEach season approximately 80 instrumental coaches visit NWS in brief instructional residencies, offering an intensive schedule of master classes and private lessons. In addition, these coaches regularly participate in the preparation of performance repertoire, lead sectional rehearsals, coach within ensemble settings and play side-by-side with NWS Fellows in rehearsal. On occasion, a team of principal players from a top-rank professional orchestra participates in a coaching residency, lending a cohesive approach to the development of ensemble and musical style.

PROFESSIONAL DEVELOPMENTThe NWS fellowship program encompasses not only a wide range of musical experience but explores issues of concern to Fellows in all aspects of their developing professional lives. Seminars and workshops address an array of issues in career and personal development, while roundtable discussions offer insider perspectives of the music world from critics, orchestra managers, record company executives and other industry leaders. In addition, NWS’ Dean of Musicians Ayden Adler is available to advise Fellows on issues relating to their professional development, as are NWS’ visiting coaches.

RECORDINGS AND BROADCASTS The recording studio is an important component of professional orchestral life, and NWS Fellows gain invaluable exposure to the challenges and demands of the medium. The New World Symphony has produced a catalog of eight recordings for the BMG Classics, London/Argo and CRI labels, receiving a Grammy nomination for Tangazo, Music of Latin America. NWS Fellows also gain experience in appearing before television cameras in both performance and interviews. In addition to such projects as the PBS telecast Beethoven Alive!, NWS has been profiled by CBS’s Sunday Morning and London’s South Bank Show, and has appeared with pop star Gloria Estefan in a special for Univision. NWS Fellows have also been featured on CNN’s Showbiz Today, NBC’s Today Show and on John Adams’ profile in The News Hour with Jim Lehrer. Since the opening of the New World Center, WALLCAST™ concerts are broadcast on the exterior of our building allowing our audience to experience select events throughout the season at Miami Beach SoundScape through a striking use of visual and audio technology on a soaring, 7,000-square-foot projection wall.

FELLOWSHIPBENEFITS

New World Symphony fellowships are awarded on a season-to-season basis for up to three seasons. The package of fellowship benefits outlined below is offered to allow Fellows to fully benefit from the extensive array of educational and performance activities offered by NWS. The NWS fellowship program is in no way to be considered as professional employment. The benefits described are current as of the printing of this brochure and are subject to change.

STIPENDNWS Fellows receive a living allowance, referred to as a stipend, during the NWS academic program season. The weekly stipend is intended to cover basic living expenses aside from the NWS-provided housing. All Fellows receive a weekly stipend of $450. Fellows who join NWS after the beginning of the season receive a stipend from their first day of participation in the program.

TRAVEL GRANTNew Fellows receive a one-time travel grant of $350. This grant is intended to assist new fellows with their relocation expenses.

FELLOWSHIP HOUSINGThe New World Symphony owns and operates a complex of residences in Miami Beach. These beautifully appointed apartments serve as housing for NWS Fellows. A large furnished studio or one-bedroom apartment with central air-conditioning, private bath, kitchen facilities and private washer/dryer is provided to each Fellow. The residences are located less than a mile from both the beach and the New World Center. The complex features a spacious patio area, outdoor pool, grilling area, indoor recreation area with large-screen TV, and on-street parking, as well as interior bicycle parking. Pets of any kind are not permitted. A one-time security deposit of $250 is deducted from the stipend of all new Fellows (in increments of $25). This deposit is held until the Fellow, upon leaving the New World Symphony, has vacated the apartment in a satisfactory manner, at which time the deposit (with accrued interest, less any deductions for damage) is returned to the Fellow TIME-OFF POLICYNWS Fellows periodically need to take time off for auditions and to participate in other activities intended to enhance their professional development. A Fellow may take time off at any time subject to approval by NWS. The exceptions to this policy are periods of critical artistic importance (e.g., preparing for and producing recordings and tours), known as “blackout” periods. All NWS Fellows may take up to three occasions per season for auditions without loss of stipend. Fellows may also use one of these audition time-off periods to pursue a significant non-paying performance activity or career-development opportunity outside NWS (e.g., to appear as a soloist with another orchestra). Fellows may also take additional time off (without stipend) for professional engagements and auditions in excess of three per season subject to the approval of the Dean of Musicians.

HEALTH INSURANCEBeginning in the 2014-15 season, all Fellows will be required to carry a health insurance policy. In addition, NWS Fellows are covered for $10,000 in accidental death and dismemberment insurance and up to $2,500 in medical insurance for accidents that occur during, or while traveling to and from, any scheduled NWS activity in the Miami area.

INSTRUMENT INSURANCEThe New World Symphony covers, through a policy with Frank Crystal & Company, the cost of insuring each Fellow’s primary instrument (e.g., violin and bow; flute and headjoint; trumpet and mouthpiece). If appropriate, the New World Symphony also covers the cost of insuring a Fellow’s auxiliary instrument (e.g., piccolo, English horn, E-flat or bass clarinet, flugelhorn or cornet). Fellows may purchase coverage for additional instruments for $35 per instrument per year. The policy provides full coverage at all times anywhere in the world.

INSTRUMENT LOANSThe New World Symphony has a limited pool of funds available to extend low-interest loans of up to $10,000 to Fellows for the purchase of new instruments. Full details are available upon request.

STUDENT LOAN DEFERMENTSFellows may be eligible for student loan deferment during their period of participation in the New World Symphony.

AUDIO, LIBRARY, and VIDEO FELLOWSHIPSIn conjunction with its musician training program, the New World Symphony offers fellowship programs for an audio engineer, an orchestra librarian and a videographer. These programs offer extensive hands-on experience in each of their chosen professions. Fellows work with Michael Tilson Thomas, NWS staff and noted professionals in these fields to develop their skills, and are invited to participate on a season-by-season basis. Further information is available at www.nws.edu

CONDUCTING FELLOWSHIPThe New World Symphony offers a one-year conducting fellowship to highly qualified conductors who have finished at least a bachelor’s degree and are not currently enrolled in a degree program. The Conducting Fellow works with Michael Tilson Thomas and many visiting guest conductors and leads the New World Symphony in several of the season’s concerts and reading sessions. Initial application materials must be received in Miami Beach by November 15, 2013. For detailed information on the application process, please visit www.nws.edu or email admissions@nws.edu.

Dear Applicant:

Thank you for your interest in the New World Symphony!

Please read all of the following information carefully. Then visit www.nws.edu and follow the online application instructions. If you have any questions, you may be able to find the answers on our FAQ page but if you do not, please don’t hesitate to contact us. Following the 2014 audition tour, approximately 30 musicians will be invited to join the NWS, and many more of you will be named finalists or semi-finalists. Being involved with the NWS, participating in the rehearsals, performances, coaching sessions, master classes and networking with musicians from around the globe will provide you with the opportunity to grow both musically and personally. Along the way, all of us here are dedicated to helping you reach your career goals. I am looking forward to meeting you and hearing you.

Warm regards,

Thomas HadleyAssociate Dean for Admissions, Fellow and Alumni Servicesadmissions@nws.edu

NATIONAL AUDITION TOUR 2014Information regarding cities and dates will be posted on our website, www.nws.edu.

NEW WORLD SYMPHONY

APPLICATION AND

AUDITION PROCEDURES

• You may apply online at www.nws.edu. Non-refundable application fees and deadlines are as follows: $50.00 for completed applications submitted no later than December 3, 2013, $75.00 for completed applications submitted no later than December 17, 2013 and $100.00 for completed applications submitted no later than January 7, 2014, which will be the final deadline.

• After the NWS audition panel reviews your application you may be invited to a live audition during the National Audition Tour.

• Musicians who are currently designated as finalists or semi-finalists for the 2013-2014 season need not upload a video or pay an application fee in order to secure a live audition during the National Audition Tour.

• All finalists and semi-finalists will be placed on the substitute list and may be called to substitute with the orchestra.

• During the National Audition Tour, walk-in auditions are not permitted.

• Only musicians currently enrolled in or recently graduated from distinguished music programs will be considered for live auditions. You can audition for the New World Symphony at any time during your studies, but you cannot be considered for a NWS fellowship until you have completed your present course of study. A baccalaureate (bachelor’s) degree or the equivalent is required of all NWS Fellows. Doctoral students must have completed their residency requirements to be considered for a fellowship. All new Fellows must have transcripts of their most recent degree sent to NWS.

• NWS will not provide copies of audition excerpts or solos.

• Accompanists are not permitted at your audition.

• All auditions and interviews are video recorded for later review by the NWS audition committee. Videos remain the sole property of NWS.

• All audition results will be given by e-mail or regular mail no later than April 1, 2014.

• Fellowships are awarded on a season-by-season basis for up to three years with the understanding that participation in the program is subject to ongoing review by the Artistic Director, Dean of Musicians and other members of the faculty and staff.

Please Note: “No-shows” will not be allowed to audition at a later date without approval from the Director of Admissions.

Foreign Nationals living within the USA: In addition to your application, resume, essays and application fee, please provide photocopies of the following documents:• Passport page(s) containing date of

birth, country or city of birth, country of citizenship, and foreign address.

• ONE of the following documents (as applicable):• I-20 from the school or institution

you are attending• Permanent Residency Card

(“Green Card”)• Employment Authorization Card

Due to the difficulty in obtaining visiting artist visas on short notice, foreign nationals living outside the U.S. will not be invited to substitute with NWS. Foreign nationals living within the U.S. who substitute with NWS will be required to show proof of eligibility to receive stipend.

Non-discrimination policy: The New World Symphony does not discriminate in its admissions policy or in the administration of its program on the basis of race, religion, creed, sex, sexual orientation, marital status, age, national or ethnic origin, or disability.

“The New World Symphony is living proof of a healthy future for classical music in America. This is an orchestra full of talent, intelligence, imagination, and love of the art, headed by one of the world’s great musical minds.”John Adams, Composer and Conductor

REPERTOIREFOR LIVE AUDITIONSVIOLINSolos:1st movement exposition from a Mozart Concerto and A concerto or solo piece of your choiceExcerpts:Beethoven: Symphony No. 3 (3rd Mvt., beg. to Trio – no repeat)Beethoven: Symphony No. 9 (3rd Mvt., ms. 99 – 114)Brahms: Symphony No. 3 (1st Mvt., beg. to B)Brahms: Symphony No. 4 (4th Mvt., 8 bef. B to D)Debussy: La Mer (2nd Mvt., 33 to 6 aft. 38)Mendelssohn: A Midsummer Night’s Dream (Scherzo)Mozart: Symphony No. 39 (2nd Mvt., beg. to m. 28 no repeat & 4th Mvt., beg. to m. 78)Prokofiev: Classical Symphony (1st Mvt., beg. to H)Schumann: Symphony No. 2 (2nd Mvt., beg. to m. 77 – no repeat)Strauss: Don Juan (beg. to 9 bef. D)

VIOLASolos:One movement of solo Bach (no repeats) andA standard repertoire concerto movementExcerpts:Beethoven: Symphony No. 5 (2nd Mvt., beg. to C)Berlioz: Roman Carnival Overture (1 to 4)Brahms: Symphony No. 3 (1st Mvt., E to G, L to M)Brahms: Haydn Variations (Vars. V & VII)Mendelssohn: A Midsummer Night’s Dream (Scherzo)Mozart: Symphony No. 35 (4th Mvt., ms. 134 to 181)Ravel: Daphnis and Chloë, Suite No. 2 (158 – 166 & 212 – 216)Shostakovich: Symphony No. 5 (1st Mvt., 15 - 17)Strauss: Don Juan (beg. to D)Tchaikovsky: Symphony No. 6 (1st Mvt., Allegro non troppo to C)

CELLOSolos:One movement of solo Bach (no repeats) andA standard repertoire concerto movementExcerpts:Beethoven: Symphony No. 5 (2nd Mvt., beg. to C)Beethoven: Symphony No. 8 (3rd Mvt., Trio)Brahms: Symphony No. 2 (2nd Mvt., beg. to A)Debussy: La Mer (1st Mvt., 2 bef. 9 to 6 bef. 10)Mendelssohn: A Midsummer Night’s Dream (Scherzo)Mozart: Symphony No. 35 (4th Mvt., ms. 134 to 181)Smetana: The Bartered Bride (Overture - beg. to A – play top line of divisi)Strauss: Don Juan (beg. to C)Strauss: Ein Heldenleben (beg. to 5 aft. 2)Tchaikovsky: Symphony No. 4 (2nd Mvt., 21 bef. A to A)

BASSSolos:One movement of solo Bach (no repeats) andA standard repertoire concerto movementExcerpts:Beethoven: Symphony No. 5 (3rd Mvt., beg. to 5 aft. A & Trio to 23 aft. B)Beethoven: Symphony No. 9 (4th Mvt., beg. to A)Brahms: Symphony No. 2 (1st Mvt., E to F)Britten: Young Person’s Guide to the Orchestra (Var. H)Mahler: Symphony No. 1 (3rd Mvt., solo)Mozart: Symphony No. 35 (4th Mvt., ms. 134 to 181)Mozart: Symphony No. 39 (1st Mvt., ms. 13 to 21 & ms. 40 to 97)Strauss: Don Juan (A to C)Stravinsky: Pulcinella (Duetto)Verdi: Otello (Act IV soli)

NOTICE TO WIND PLAYERS: Auxiliary instruments (piccolo, English horn, Eb clarinet, bass clarinet, contrabassoon, etc.) will not be heard during the audition; however, if invited to the NWS fellowship program, musicians will be expected to play auxiliary instruments as needed.

FLUTESolos:Mozart Concerto in G or D (1st Mvt. exposition) and A concerto or solo piece of your choiceExcerpts:Beethoven: Leonore Overture No. 3 (beg. to m. 25 & ms. 328-360)Brahms: Symphony No. 4 (4th Mvt., 13 aft. D to 8 bef. E) Debussy: Prélude à l’apres-midi d’un faune (opening & 2 - 3)Dvorak: Symphony No. 8 (4th Mvt., 8 bef. D to E)Hindemith: Symphonic Metamorphoses (3rd Mvt., 5 bef. C to end)Mendelssohn: A Midsummer Night’s Dream (Scherzo)Prokofiev: Peter and the Wolf (2 to 4)Ravel: Daphnis and Chloë, Suite No. 2 (176 to 179)Saint-Saëns: Carnival of the Animals (Volière)Stravinsky: The Firebird Suite (Variation of the Firebird)

OBOESolos:Mozart Concerto (1st Mvt. exposition) andA concerto or solo piece of your choiceExcerpts:Beethoven: Symphony No. 7 (3rd Mvt., ms. 63 to 106)Brahms: Violin Concerto (2nd Mvt., beg. to m. 32)Brahms: Symphony No. 1 (1st Mvt., 9 aft. A & 2nd Mvt., beg. to A)Debussy: La Mer (2nd Mvt., 17 to 19 & 34 to 35)Mendelssohn: Symphony No. 3 (2nd Mvt., A – D)Ravel: Le Tombeau de Couperin (Prélude & Menuet)Rossini: Overture to La Scala di Seta (beg. to 3)Strauss: Don Juan (L to N)Stravinsky: Pulcinella (Gavotte and Variation)Tchaikovsky: Symphony No. 4 (2nd Mvt., first 21 bars)

CLARINETSolos:Mozart Concerto (1st Mvt. exposition) andA concerto or solo piece of your choiceExcerpts:Beethoven: Symphony No. 4 (2nd Mvt., F to 7 bef. G)Beethoven: Symphony No. 6 (2nd Mvt., D to E)Beethoven: Symphony No. 8 (3rd Mvt., Trio)Brahms: Symphony No. 3 (2nd Mvt., beg. to B)Debussy: Prélude à l’apres-midi d’un faune (3 to 4 & 6 to 5 ms. aft. 7)Mendelssohn: A Midsummer Night’s Dream (Scherzo)Prokofiev: Peter and the Wolf (20 to 21)Respighi: Pini di Roma (3rd Mvt. solo)Rimsky-Korsakov: Capriccio espagnol (1st Mvt. & 3rd Mvt., 11 aft. K to end)Rimsky-Korsakov: Scheherazade (2nd Mvt., F to G)

BASSOONSolos:Mozart Concerto (1st Mvt. exposition) andA concerto or solo piece of your choiceExcerpts:Berlioz: Symphonie Fantastique (5th Mvt., 8 ms. after 63 to 4 ms. after 64) Mozart: Overture to Le Nozze di Figaro (ms.139-171)Ravel: Boléro (2 to 3)Ravel: Piano Concerto in G (3rd Mvt., 14 to 16)Rimsky-Korsakov: Scheherazade (2nd Mvt., m. 5 to A & L to M)Rossini: Overture to La Gazza Ladra (8 bef. 6 to 6)Shostakovich: Symphony No. 9 (4th Mvt., beg. to A in 5th Mvt.)Stravinsky: Le Sacre du Printemps (beg. to 3 aft. 3)Tchaikovsky: Symphony No. 4 (2nd Mvt., last 31 bars)Tchaikovsky: Symphony No. 6 (1st Mvt., first 12 bars)

HORNSolos:1st movement exposition from a Mozart Concerto and A concerto or solo piece of your choiceExcerpts:Beethoven: Symphony No. 3 (3rd Mvt., Trio [2nd horn])Beethoven: Symphony No. 9 (3rd Mvt., ms. 82-98 [4th horn])Brahms: Symphony No. 3 (3rd Mvt., F to G)Mahler: Symphony No. 1 (3rd Mvt., 13 – 15 [2nd Horn])Mendelssohn: A Midsummer Night’s Dream (Nocturne)Ravel: Piano Concerto in G (1st Mvt., 25 to 26)Shostakovich: Symphony No. 5 (1st Mvt., 17 to 21)Strauss: Ein Heldenleben (beg. to 5 aft. 1)Strauss: Till Eulenspiegel (beg. to 1)Wagner: Götterdämmerung (Short call)

TRUMPETSolos:Haydn Concerto (1st and 2nd movement expositions) and A concerto or solo piece of your choiceExcerpts:Bizet: Carmen (Prélude, Andante moderato to end)Mahler: Symphony No. 5 (1st Mvt., beg. to 6 aft. 1)

Mussorgsky/Ravel: Pictures at an Exhibition (Promenade, beg. to 2)Ravel: Piano Concerto in G (1st Mvt., 2 to 3 & 36 to end)Respighi: Pini di Roma (offstage solo, 8 aft. 10)Schumann: Symphony No. 2 (1st Mvt., first 13 bars [1st & 2nd tpts.])Shostakovich: Symphony No. 5 (1st Mvt., 27 to 29)Strauss: Don Juan (F to G)Stravinsky: Petrouchka (1947 version, 1 bef. 134 to 139 & 149 to 151)Tchaikovsky: Swan Lake (Neapolitan Dance)

TROMBONESolos:Standard repertoire concerto movement andA concerto or solo of your choiceExcerpts:Berlioz: Hungarian March (Rakoczy) (6 bef. 4 to 5 [2nd trb.])Mahler: Symphony No. 3 (1st Mvt., 13-17)Mozart: Requiem (Tuba Mirum)Ravel: Boléro (10 to 11)Rossini: Overture to La Gazza Ladra (ms. 115 to 135 & ms. 276 to 291)Saint-Saëns: Symphony No. 3 (Q – 2 ms. after S)Schumann: Symphony No. 3 (4th Mvt., beg. to 3 aft. A)Strauss: Ein Heldenleben (60 to 65 [2nd trb.])Stravinsky: Pulcinella (Duetto)Wagner: Ride of the Valkyries

BASS TROMBONESolos:J.S. Bach: Sarabande from Suite No. 5 for Cello andA solo piece of your choiceExcerpts:Haydn: The Creation (No. 26, beg. to C)Kodály: Háry János Suite (4th Mvt.)Respighi: Fontane di Roma (11 to 14)Rossini: Overture to La Gazza Ladra (ms. 115 to 132 & ms. 433 to 442)Schumann: Symphony No. 3 (4th Mvt., beg. to 13 aft. A)Strauss: Ein Heldenleben (61 to 65)Wagner: Lohengrin (Introduction to Act III, B to C) Wagner: Overture to Tannhäuser (A to B)

TUBASolos:Vaughan Williams: Concerto for Bass Tuba (1st Mvt. exposition and cadenza, 2nd Mvt. exposition) and A solo piece of your choiceExcerpts:Berlioz: Hungarian March (Rakoczy) (4 to 5)Berlioz: Overture to Le Corsaire (5 to 6 & 12 to 13)Hindemith: Symphonic Metamorphoses (2nd Mvt., 4 bef. M to P)Prokofiev: Symphony No. 5 (1st Mvt., 3 to 6)Respighi: Fontane di Roma (11 to 14)Strauss: Till Eulenspiegel (37 to 38)Stravinsky: Petrouchka (1947 version, 189 to 191)Wagner: Overture to Die Meistersinger (J to L)Wagner: Ride of the Valkyries

HARPSolos:Mozart: Concerto for flute and harp (1st Mvt. exposition) OR Händel: Concerto in B-flat (1st Mvt. exposition) and A solo piece of your choiceExcerpts:Bartók: Concerto for Orchestra (4th Mvt., ms. 42-58)Berlioz: Symphonie fantastique (Un Bal)Britten: Young Person’s Guide to the Orchestra (Var. I & Fugue, I to end)Donizetti: Lucia di Lammermoor (Act I cadenza)Ravel: Tzigane (4 to 5)Stravinsky: Symphony in Three Movements (2nd Mvt., 117 to 125)Tchaikovsky: Swan Lake (Act II cadenza, 25 to 26)Verdi: Overture to La Forza del Destino

PIANOSolos:A Beethoven sonata (one movement) andA contrasting Romantic virtuoso piece andBrahms: A Violin, Viola, or Cello Sonata or the Horn Trio (one movement)Excerpts:Copland: Appalachian Spring (6 to 14)Shostakovich: Symphony No. 1 (2nd Mvt., 2 bef. 18 to 3 aft. 22)Stravinsky: Petrouchka (1947 version, 64 to 81)

NOTICE TO TIMPANISTS AND PERCUSSIONISTS: Timpani and percussion auditions are scheduled separately (usually in May) and are held at the New World Center in Miami Beach. No videotapes are required and the application fee is waived. Please e-mail the office for further details.

TIMPANIBarber: Medea’s Meditation and Dance of VengeanceBartók: Concerto for Orchestra (4th Mvt., ms. 42-51)Bartók: Music for Strings, Percussion and Celesta (2nd Mvt., ms. 301-339 & 3rd Mvt., beg. to m. 20)Beethoven: Symphony No. 1 (3rd Mvt., A to D.C. & 4th Mvt., 18 bef. E to end)Beethoven: Symphony No. 7 (1st Mvt., 20 bef. C to 2 aft. C & 4th Mvt., 7 bef. K to end)Beethoven: Symphony No. 9 (1st Mvt., beg. to A & 18 bef. S to end)Brahms: Symphony No. 1 (1st Mvt., beg. to C & 4th Mvt., 9 aft. Q to end)Elgar: Enigma Variations (Mvt. VII)Hindemith: Symphonic Metamorphoses (2nd Mvt., S to X)Mahler: Symphony No. 7 (5th Mvt., beg. to 225 & 290 to end)Mozart: Symphony No. 39 (1st Mvt., beg. to A)Sibelius: Finlandia (D to H)Strauss: Burleske (beg. to A)Stravinsky: Le Sacre du Printemps (103 to 117 & 189 to end)Tchaikovsky: Symphony No. 4 (1st Mvt., S to U)Wagner: Siegfried’s Funeral March (beg. to G)

PERCUSSIONMarimbaJ.S. Bach: Solo of your choice (2 or 4 mallets)

XylophoneGershwin: Porgy and Bess (beg. to B)Kodály: Háry János Suite (Mvt. VI)Messiaen: Oiseaux Exotiques (6 to 7 and 26 to 28)Shostakovich: The Age of Gold (Polka)Stravinsky: The Firebird (127 to 133)

GlockenspielDebussy: La Mer (2nd Mvt.)Dukas: The Sorcerer’s Apprentice (17 to 20 & 22 to 24)Respighi: Pini di Roma (beg. to 21 aft. 2 & 7 to end of Mvt.)Tchaikovsky: Sleeping Beauty Suite (Waltz [No. 5])

Snare DrumJacques Delécluse: Étude No. 11 from Douze Études (1964)Prokofiev: Lt. Kijé Suite (1st Mvt., 1 to 2 & 13 to end)Rimsky-Korsakov: Capriccio espagnol (4th Mvt., beg. to M)Rimsky-Korsakov: Scheherazade (3rd Mvt., D to G & 4th Mvt., M to U)Shostakovich: Symphony No. 10 (2nd Mvt., 98 to end)

Bass DrumMahler: Symphony No. 3 (1st Mvt., 1 to 4)Stravinsky: Le Sacre du Printemps (72 to end of Part I)

CymbalsDvorák: Scherzo Capriccioso (Q to end)Mussorgsky: Night on Bald Mountain (S to T)Rachmaninoff: Piano Concerto No. 2 (3rd Mvt., 32 to 33)Tchaikovsky: Romeo and Juliet

TambourineBizet: Carmen (Aragonaise & Danse Bohème)Dvorák: Carnival Overture (beg. to C & 8 bef. U to end)Stravinsky: Petrouchka (1947 version, 201 to 206)

TriangleBizet: Carmen (Danse Bohème)Brahms: Symphony No. 4 (3rd Mvt., I to end)Liszt: Piano Concerto No. 1 (E to H)

Timpani (for percussion applicants)Beethoven: Symphony No. 9 (1st Mvt., beg. to A & 18 bef. S to end)Elgar: Enigma Variations (Mvt. VII)Hindemith: Symphonic Metamorphoses (2nd Mvt., S to X)

For further informationplease contact: Thomas HadleyAssociate Dean for Admissions, Fellow and Alumni Services New World Symphony500 17th StreetMiami Beach, FL 33139

Phone: (800) 597-3331Fax: (305) 673-6749 E-mail: admissions@nws.edu Online: http://www.nws.edu

Thomas HadleyAssociate Dean for Admissions,Fellow and Alumni Services

New World Symphony500 17th StreetMiami Beach, FL 33139

Phone: (800) 597-3331Fax: (305) 673-6749 e-mail: admissions@nws.edu

For further information please contact: www.nws.eduwww.NewWorldCenter.com

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