Study programme Instrumental music

2. Additional requirements for applicants in profile Organ performance:

2.1.Organ performance:

* J.S. Bach organ cycle consisting of two or more parts (Prelude and fugue, Toccata and fugue, Fantasy and fugue, Canzone in d moll BWV 588), except Eight small preludes andfugues BWV 553-560. Allowed to perform separate fugues, but in this case another work of J.S. Bach has to be performed;

* Choral prelude of German baroque period with cantus firmus (for two manual and pedal keyboards);

* a work or part of cycle of romantic period (6 – 7`);

* organ work of 20th century.

2.2. Colloquium in Organ performance:

Knowledge about current situation in music life of Latvia, most outstanding organ music performers in Latvia and abroad, composers of pieces performed in examination and their creative work. Applicant should be able to demonstrate his/her general outlook in culture and art.

Themes for profile discussion:

  • Organ construction and mechanics. Various organ types in Latvia;
  • Types of instruments;
  • Organ building firms abroad and in Latvia;
  • Latvian organ music;
  • Organ music of baroque period;
  • Organ music of romanticism;
  • 20th century organ music.

Colloquium in music literature and theory (ear training, harmony, analysis):
Colloquium in music literature and theory (ear training, harmony, analysis) includes test of knowledge and skills in two basic disciplines – music literature and theory. Total evaluation of the level of previous musically theoretic preparation of the applicant is formed from the average grade of the sum of evaluations obtained in written and aural parts of colloquium. First part of colloquium consists of written, second – of aural tasks.

1.1.1.Music literature:

  • WRITTEN TEST – definition of ten musical fragments from recordings (composer, work, musical theme) – two fragments from each group of genres. List of musical fragments:

Composer / Work
I VOCAL INSTRUMENTAL (SYMPHONIC) MUSIC AND OPERAS
J. S. Bahs (Bach) / • Matheus Passion: Introduction choir Kommt, ihr Töchter; alto aria Erbarme dich
G.F. Hendelis (Händel) / • Oratorio Mesija: choir Hallelujah; soprano aria I know that my Redeemer liveth
J. Haidns (Haydn) / • Oratorio The seasons: [Spring] Choir Komm, holder Lenz
K.V. Gluks (Gluck) / • Opera Orfeo and Euridice: Choir of furias it. Chi mai dell` Erebo /fr. Quel est l`audaciex and dance (Act 2), Orfeo aria Che farò senza Euridice (Act 3)
V.A. Mocarts (Mozart) / • Requiem: Kyrie eleison; Dies irae
• Opera Le nozze di Figaro: Overture, Figaro aria Non più andrai (Act 1)
• Opera Don Giovanni: Overture, Don Giovanni and Zerlina`s duettino Là ci darem la mano (Act 1)
R. Vāgners (Wagner) / • Opera Lohengrin: Prologues of Act 1 and Act 3.; Lohengrin`s narration about Graal In fernem Land
• Tannheiser Overture
Dž. Verdi (Verdi) / • Opera Traviata:Violetta`s scene and aria E strano! → Ah fors’ èlui che l’anima (Act 1)
• Opera Aida: closing duo O terra, addio (Aida & Radames, Act 4.)
P. Čaikovskis
(Чайковский) / • Opera Eugene Onegin: Tatiana`s letter scene Пускай погибну я (Scene 2)
M. Musorgskis
(Мусоргский) / • Opera Boris Godunov: Choir Уж как на небе солнцу красномуcлава
Ž. Bizē (Bizet) / • Opera Carmen: Segidilla Près des remparts de Séville (Act 1); Carmen`s arioso from the scene of Fortune telling En vain,pour éviter les réponses amères (Act 3)
Dž. Pučīni (Puccini) / • Opera La Bohema: Mimi narration Mi chiamano Mimi (Act 1)
Jurjānu Andrejs / • Cantata Tēvijai – main themes
Jāzeps Vītols / • Ballada Beverīnas dziedonis– main themes
Alfrēds Kalniņš / • Opera Baņuta: Baņuta`s ballada Act 1.;Funeral choir Vaimanā, vaimanā tēvija (Act 2)
Baņuta and Vižuts` duo scene Nāc, manuliego ilgu tēls (Act 3)
Jānis Mediņš / • Opera Uguns un nakts, Spīdola`s aria Es esmu es!
Arturs Maskats / • Lacrimosa for mixed choir, organ and string orchestra
II Symphonic music
J. Haidns (Haydn) / • London symphony Nr. 103 Es dur (with timpani tremolo) – main themes of each movement
V.A. Mocarts (Mozart) / • Symphony[Nr. 41] C dur– I, IV movements – main themes
• Piano concerto No. 20 – I movement main themes
L. van Bēthovens
(Beethoven) / • 3rd symphony – I movement main themes
• 5th symphony c moll – main themes of all movements
• 9th symphony – IV movement, theme Freude,schöner Götterfunken
F. Šūberts (Schubert) / • Symphony h moll (Unfinished) – main themes of all movements
F. Mendelsons Bartoldi
(Mendelssohn Bartholdy) / • Violin concerto e moll op. 64 – main themes of all movements
H. Berliozs (Berlioz) / • Fantastic symphony op. 14 –main themes of all movements
J. Brāmss (Brahms) / • Fourth symphony e moll op. 98 – I, IV movements main themes
P. Čaikovskis
(Чайковский) / • Sixth symphony h moll– main themes of all movements
A. Dvoržāks (Dvořák) / • 9th symphony Frnm the New Worlde moll op. 95 – I movement main themes
• Concerto for cello and orchestra – I movement main hemes
G. Mālers (Mahler) / • First symphony D dur– I, III movements main themes
F. Lists (Liszt) / • Symphonic poem Preludes– main themes
E. Grīgs (Grieg) / • Piano concerto a moll op.16 – main themes of all movements
N. Rimskis-Korsakovs
(Римский-Корсаков) / • Symphonic suite Sheherezade – I movement main themes
A. Skrjabins (Скрябин) / • Poem of Ecstasy for symphonic orchestra – theme of self assertation
S. Rahmaņinovs
(Рахманинов) / • Second piano concerto c moll op. 18 – main themes of all movements
Ž. Sibēliuss (Sibelius) / • Violin concerto d moll op. 47 – main themes of all movements
M. Ravels (Ravel) / • Bolero for symphonic orchestra
D. Šostakovičs
(Шостакович) / • Fifth simfonija d moll op. 47 – main themes of all movements
• Fifteenth symphony – I movement main themes
S. Prokofjevs
(Прокофьев) / • First symphony (Classical) – I, III movements main themes
I. Stravinskis
(Стравинский) / • Ballet Petrushka: Russian dance
A. Bergs (Berg) / • Violin concerto (Angel`s memory) – main themes
V. Ļutoslavskis
(Lutosławski) / • (Livre pour orchestre) – introduction
Jurjānu Andrejs / • Latvju dejas (Latvian Dances) – I un III Dances
Jānis Ivanovs / • 4th symphony (Atlantīda) – I, II movements main themes
Romualds Kalsons / • Violin concerto – I, III movements main themes
• Wedding Song Nr. 5 for symphonic orchestra
Pēteris Vasks / • Musica dolorosa for string orchestra– main themes
III INSTRUMENTAL CHAMBER MUSIC
J. S. Bahs (Bach) / • Chromatic phantasy and fugue for piano d moll (BWV 903) – main themes
V. A. Mocarts (Mozart) / • Piano sonata c moll KV 457– I movement main themes
L. van Bēthovens
(Beethoven) / • 23rd. sonata f moll for piano op. 57 (Appassionata) – main themes from all movements
F. Šopēns (Chopin) / • First ballada g moll op. 23 – main themes
R. Šūmanis (Schumann) / • Cycle for piano Carnival op. 9: Preambula, Eusebio, Florestan, Chiarina
M. Musorgskis
(Мусоргский) / • Cycle for piano Pictures at an Exhibition: Promenade, Il vecchio castello, Bogatyrskie vorota
K. Debisī (Debussy) / • Prelude for piano La cathédrale engloutie
B. Bartoks (Bartók) / • Allegro barbaro for piano
Jāzeps Vītols / Variations for piano on the theme of folk song Ej, saulīte, drīz pie Dieva
Alfrēds Kalniņš / • Ballada for piano – all main themes
Pēteris Vasks / • Music for fleeting birds for wind quintet
Pēteris Plakidis / • Trio Hommage a Haydn for flute, cello and piano
IV VOCAL CHAMBER MUSIC
F. Šūberts (Schubert) / • Vocal cycle Die Schone Mullerin: Ceļošana (Das Wandern);
• Vocal cycle Winterreise: Liepa (Lindenbaum); Leijerkastnieks (Der Leiermann)
R. Šūmanis (Schumann) / • Vocal cycle Dichterliebe op. 48: Man dusmu nav (Ich grolle nicht)
Emīls Dārziņš / • Songs: Teici to stundu, to brīdi; Rezignācija
Alfrēds Kalniņš / • Songs: Brīnos es; Pļāvēja diendusa
Marģeris Zariņš / • Partita baroka stilā – I, VI movements
V LATVIAN A CAPPELLA CHORAL MUSIC
Jāzeps Vītols / • Choir balladas: Gaismas pils
Emīls Dārziņš / • Choral songs: Lauztās priedes; Minjona; Senatne; Mēnessstarus stīgo
Emilis Melngailis / • Choral works: Senatne; Jāņuvakars
Jānis Zālītis / • Choral song Biķeris miroņu salā
Pauls Dambis / • Choral cycle Jūras dziesmas – I movements
Maija Einfelde / • Pie zemes tālās
  • AURAL TEST – characteristic of music of one foreign and one Latvian composer:

1) Foreign composers:
Johans Sebastiāns Bahs (Bach); Georgs Frīdrihs Hendelis (Händel); Jozefs Haidns (Haydn); Volfgangs Amadejs Mocarts (Mozart); Ludvigs van Bēthovens (Beethoven); Francis Šūberts (Schubert); Frideriks Šopēns (Chopin); Hektors Berliozs (Berlioz); Roberts Šūmanis (Schumann); Ferencs Lists (Liszt); Rihards Vāgners (Wagner); Džuzepe Verdi (Verdi); Antonīns Dvoržāks (Dvořák);Johanness Brāmss (Brahms); Modests Musorgskis (Mусоргский); Pēteris Čaikovskis (Чайковский); Edvards Grīgs (Grieg); Džakomo Pučīni (Puccini); Klods Debisī (Debussy); Aleksandrs Skrjabins (Скрябин); Sergejs Rahmaņinovs (Рахманинов); Moriss Ravels (Ravel); Bēla Bartoks (Bartók); Igors Stravinskis (Стравинский); Sergejs Prokofjevs (Прокофьев); composers of New Vienna school (A. Schoenberg, A. Berg, A. Webern); Arturs Onegērs (Honnegger, in connection with the activities of group Six); Dmitrijs Šostakovičs (Шостакович); Vitolds Ļutoslavskis (Lutosławski)

Remark: necessary requirements for successful evaluation - composer`s music in context of century, style, genres in which works were created according to the programme of secondary school, mentioning and characterizing also separate works.

1)Latvian composers:
Jāzeps Vītols; Emilis Melngailis; Emīls Dārziņš; Alfrēds Kalniņš; Jānis Ivanovs; Tālivaldis Ķeniņš; Jānis Mediņš, Lūcija Garūta, Pauls Dambis; Romualds Kalsons; Imants Kalniņš; Pēteris Vasks; Pēteris Plakidis

Remark: Necessary requirements for successful evaluation – characterize in which genres created most famous works of the composer according to the programme of secondary school, mentioning and characterizing also separate works.

1.1.2.Music theory (ear training, harmony, analysis):

WRITTEN TEST:

  • Identification by ear of separate elements of musical language (modes of the keys; separate intervals, chords; intervals and chords with solutions; short chains of intervals and chords; typical models of modulations). Elements can be played as rhythmic phrases or musical samples in texture, genre;
  • Music dictation (two-voiced period consisting of 8-12 bars; possible chromatisms and modulations to closely related keys, possible mixed metre, changing metre. Playing 12 times, writing – 25 minutes.
  • Harmonization of a given melody in four-voiced texture or homophone-harmonic texture as melody with accompaniment. Possible modulations to closely related keys.
  • Full theoretic analysis of a musical work or its excerpt (to identify most characteristic signs of genre and style, components of form, structure of a period, texture, keys, chords, tones of melodic figuration, etc.).

AURAL TEST:

  • To repeat phrases played on the piano with notes. To develop given melodic impulse into a form of a period, maintaining genre, intonative and metro-rhythmic characteristics, creating tonal or modulating period;
  • Sight reading of a rhythmic formation with syncopation, changing, mixed metre and/or homophonic melody with chromatisms, modulations to closely related keys;
  • To sing given melody improvising accompaniment in free texture corresponding to the genre and character of the melody;
  • Analysis of a musical excerpt by ear or analysis by sight (to identify style, genre, form of expression, texture, place of this excerpt in the musical work; in case of a period – mode of period, to analyse most characteristic elements of musical language – melody, harmony, metro-rhythm, structure and other means of expression);
  • To sequence musical excerpts (4-5 components in a sequence) closing with cadenza in a key established;
  • To play modulation to closely related key in the form of a period or other construction, in a free or four-voiced texture with melodic figuration.