The Repertoire Paradox
Here's a paradox I observe every audition season: students choose "impressive" pieces that actually work against them. They select Liszt's Transcendental Etudes when a Chopin Nocturne would showcase their strengths better. They play the Rach 3 because it seems more competitive, when a Mozart concerto might reveal more musicianship.
The goal isn't to play the hardest music—it's to play music that makes YOU sound your best.
Admissions committees aren't impressed by difficulty for its own sake. They're looking for musicians who understand their own abilities and make intelligent artistic choices. Choosing appropriate repertoire IS an artistic choice.
The Four-Factor Framework
When helping students choose repertoire, I consider four factors:
1. Technical Ceiling vs. Performance Level
There's a crucial difference between what you can play in the practice room and what you can deliver under audition pressure. Choose pieces at 80-90% of your absolute technical limit. In an audition, a piece you can play with 95% security will always beat a piece you can only manage at 80%.
2. Variety and Balance
Your program should demonstrate range: lyrical playing AND virtuosity, delicate touch AND power, Classical clarity AND Romantic expressivity. If every piece showcases the same skills, you're missing an opportunity to show your full capabilities.
3. Genuine Connection
Faculty can tell when a student loves their repertoire versus when they're playing it because they "should." Choose pieces that genuinely move you. Your authentic emotional connection translates directly to the audience. Passion is audible.
4. Strategic Differentiation
If you're auditioning at a school where 40 pianists might play the Waldstein Sonata, consider whether a different Beethoven sonata might help you stand out. This doesn't mean avoiding popular pieces—just being strategic about your choices.
Common Repertoire Mistakes
In my years of coaching, I've seen certain patterns that consistently hurt students' chances:
❌ "Bigger is Better" Thinking
Playing a 50-minute program when 30 focused minutes would serve you better. More music doesn't mean better odds. Quality over quantity, always.
❌ Competition Repertoire Recycling
Competition and audition repertoire serve different purposes. Competitions often reward technical brilliance and crowd-pleasing pieces. Conservatory auditions assess teachability, musicianship, and potential. Adjust accordingly.
❌ Ignoring the Required Bach
Many students under-prepare their Bach, treating it as a warm-up. Big mistake. Faculty often pay special attention to Bach—it reveals your understanding of structure, voice leading, and musical architecture in a way that Romantic pieces don't.
❌ Learning New Pieces Too Late
Audition pieces should be deeply absorbed, not freshly learned. A piece you've lived with for a year will have depth that a recently-learned piece cannot match. Start early.
❌ Choosing Based on What "Everyone Plays"
If you choose a piece just because other successful applicants played it, you're ignoring whether that piece suits YOUR strengths. The question isn't "what works?"—it's "what works for ME?"
School-Specific Considerations
Different schools have different institutional cultures. Understanding these can inform your repertoire choices:
- Curtis Institute — Known for valuing exceptional technical facility and polish. If you're auditioning here, your pieces need to be bulletproof technically.
- The Juilliard School — Looks for complete musicians with strong individual voices. They want to see artistry and personality alongside technique.
- New England Conservatory — Appreciates adventurous, contemporary programming. Including a 20th/21st-century work you're genuinely passionate about can be advantageous.
- Mannes School of Music — Values deep musical understanding and intellectual engagement with the score. Choose music you can speak about intelligently.
- Cleveland Institute — Strong tradition of technical excellence combined with musical depth.
These are generalizations, but they can help you tailor your program. Research faculty and recent programming at your target schools.
Standard Requirements Breakdown
Most conservatory auditions require a program that includes:
- Bach — Usually a Prelude and Fugue from WTC, though some schools accept Partitas or Suites
- A complete Classical sonata — Typically Mozart, Haydn, Beethoven (early/middle), or Schubert
- A Romantic work — Chopin, Schumann, Brahms, Liszt, etc.
- A 20th or 21st-century piece — Increasingly important; shows you're a complete musician
- Etudes — Usually Chopin or Liszt, sometimes required, sometimes optional
Always check specific requirements for each school—they vary significantly.
My Approach to Repertoire Coaching
When working with a new student, I spend significant time in our first sessions understanding their playing—their natural strengths, areas for growth, musical personality. Only then do we discuss repertoire.
Sometimes I recommend significant changes; sometimes their current program is perfect. The key is making intentional, strategic choices rather than defaulting to whatever feels "impressive" or what their previous teacher assigned.
Questions I ask every student:
- What pieces have you performed most successfully in the past?
- What composers do you feel most connected to?
- What are your technical strengths and weaknesses?
- What do you want the panel to understand about you as a musician?
Unsure About Your Repertoire?
If you're questioning whether your current repertoire truly serves your audition goals, let's discuss it in a free consultation. Sometimes a small adjustment in programming can make a significant difference in results.
Schedule Free EvaluationFinal Thoughts
Repertoire selection is one of the most important decisions you'll make in your audition preparation. It's not just about what you play—it's about what that choice says about you as a musician.
Choose pieces that you love, that showcase your strengths, that you can perform with confidence under pressure, and that together create a portrait of who you are as an artist.
That's strategic repertoire selection. That's how you become unforgettable.