The Civic Orchestra of Chicago is currently accepting applications for the 2025/26 Season.
Video Audition Application Deadline: 11:59pm Central Time on Friday, February 14, 2025
A fee of $85 applies for applications submitted before January 20, 2025 and a fee of $110 applies for applications submitted between January 21-February 14, 2025. All application fees are non-refundable.
Percussionists must complete their application and submit a preliminary recording by January 31, 2025. Timpanists must submit their application by February 14, 2025 and play an in-person audition on February 28, 2025.
PROGRAM OVERVIEW
The Civic Orchestra of Chicago trains young professional musicians for careers in symphony orchestras. Under the guidance of Principal Conductor Ken-David Masur, a faculty of coaches from the Chicago Symphony Orchestra and numerous luminary guest conductors including CSO Music Director Emeritus for Life Riccardo Muti, Civic Members refine their skills and gain experience through monthly rehearsals, coachings, performances and workshops.
THE CIVIC FELLOWSHIP PROGRAM
The Civic Fellowship Program provides supplementary training to a cohort of approximately 10-15 Civic Members with the goal of preparing them for multifaceted careers in music. Through a series of training workshops and the delivery of various programs, fellows develop skills and experience in artistic planning and chamber music performance, music education, community engagement and project management.
The 2025/26 Civic Fellowship curriculum will tentatively consist of the following:
- Serve as leaders within the Civic Orchestra, taking on expanded roles in community-focused projects of the full orchestra.
- Curate and perform chamber music concerts at Symphony Center and other venues throughout Greater Chicago with an emphasis on contemporary music.
- Participate in arts-integration partnerships with Chicago Public Schools.
- Mentor young musicians as part of the Chicago Youth in Music Festival.
- Participate in the Negaunee Music Institute’s Notes for Peace project, which supports parents who have lost children to gun violence.
- Receive coaching and attend workshops led by world-renowned faculty including musicians of the CSO and other guest artists.
- Meet regularly as a cohort with staff to plan and reflect on Fellowship activity.
- Participate in training that further develops public speaking, fundraising, artistic planning, classroom management and advocacy skills.
MEMBERSHIP OVERVIEW AND ELIGIBILITY
REGULAR MEMBERSHIP
Participation in the Civic Orchestra is a part-time commitment, which allows ensemble Members to pursue additional educational and professional opportunities on their own outside of the program.
Each year, Civic Regular Members receive a stipend that is paid bi-weekly and intended to offset living expenses. For the 2025/26 Season, each Regular Member of the Civic Orchestra will receive a stipend of $10,000, contingent upon completion of all required activities (approximately 95 services October through early June).
Most new Regular Members are offered an initial two-year term in the program and may be invited to audition for a third season. Membership beyond the first season is not guaranteed and select members may be asked to re-audition or undergo a performance review.
Regular Membership Eligibility
To join the Civic Orchestra as a Regular Member an applicant must be 18 years of age or older and have, at minimum, a high school diploma. While there is no maximum age limit, most Members are between the ages of 22 and 30 and are either graduate-level students or post-graduates with a Bachelor’s degree. While some Members are current undergraduate students, the time commitment for the Civic Orchestra is substantial and may often conflict with undergraduate university obligations. All Regular Members are required to live within Greater Chicago because the season schedule does not accommodate long-distance commuting.
International applicants, please see additional information below.
CIVIC FELLOWSHIPS
Fellowship auditions are open to new, incoming Civic Members on a season-by-season basis, as well as to current Regular Members who will continue in the orchestra the following season.
Fellowship auditions are open to all instruments, however, depending upon the matriculation of current fellows, 2025/26 fellowships may not be available for all instruments.
For the 2025/26 Season, Civic Members selected for the Fellowship will receive an all-inclusive stipend of $20,000 as compensation for their participation as Civic Fellows and as Regular Members of Civic, contingent upon completion of all required activities.
Fellowship Eligibility
Civic Fellows must first be accepted as a Regular Member of the Civic Orchestra and possess at least a Bachelor’s degree. Civic Fellows may not be enrolled in a degree or certificate program while a Civic Fellow. Applicants enrolled in a degree or certificate program may only apply for Regular or Associate Membership.
Applicants who have been accepted as Regular Members and who indicated interest in being considered for the Civic Fellowship program on their application must participate in an interview via Zoom. Applicants will be contacted to schedule an interview, which will take place in April 2025.
International applicants, please see additional information below.
ASSOCIATE MEMBERSHIP (SUBSTITUTE/EXTRAS LIST)
Musicians accepted as Associate Members are offered a one-season membership, and are contacted on an as-needed basis as extra/substitute musicians. An Associate Member may be called upon to fill a vacant position in the event a Regular Member leaves a position during the season. Compensation for each concert cycle is on a per-project basis and the stipend amount offered to Associate Members will vary based on the length of concert cycles. The Civic Orchestra does not provide reimbursement for travel or hotel accommodation expenses. International Associate Members will need to provide proof of eligibility to work in the United States for the duration of the agreed upon services.
Associate Member Eligibility
To join the Civic Orchestra as an Associate Member an individual must be 18 years of age or older and must have, at minimum, a high school diploma. Most Members are between the ages of 22 and 30 and are either graduate level students or post-graduates with a Bachelor’s degree. It is recommended that Associate members reside in the greater Chicago area as they are often contacted between two to three weeks prior to a concert cycle.
International applicants, please see additional information below.
INTERNATIONAL APPLICANTS
The Civic Orchestra accepts applications from non-US citizens. If the application and audition are successful, Members must have a valid visa or immigration status and appropriate employment authorization in order to participate in the Civic Orchestra of Chicago. Accepted forms of visas include F-1 status (with CPT or OPT), O-1 status, or Permanent Residency (Green Card). The Civic Orchestra is unable to offer any visa sponsorship for Members.
AUDITION INFORMATION
APPLICATION AND AUDITION REQUIREMENTS
Video Audition Application Deadline (for all instruments except percussion and timpani): 11:59pm Central Time on Friday, February 14, 2025
A fee of $85 applies for applications submitted before January 20, 2025 and a fee of $110 applies for applications submitted between January 21-February 14, 2025. All application fees are non-refundable. Financial assistance is available.
PERCUSSION AND BRASS AUDITIONS
Percussion
Percussion applicants must submit a video-recorded audition by January 31, 2025 as the preliminary round. Applicants who are selected as finalists will be notified as such by Monday, February 10, 2025 and will be required to audition live at Symphony Center in Chicago. Live auditions for finalists will be held on March 2, 2025. No walk-in auditions will be accepted.
Timpani
Timpani applicants must submit an online application by February 14, 2025. All applicants are required to audition live at Symphony Center on February 28, 2025. No walk-in auditions will be accepted.
APPLICATION INSTRUCTIONS
Click here to apply for the Civic Orchestra 2025/26 Season.
All applicants must submit a video audition. In order to be considered for membership in the Civic Orchestra of Chicago, all applicants must complete the following steps:
- Select your instrument from the drop down menu.
- Complete the online application form.
- Upload a photo of yourself.
- Upload a current résumé (no more than two pages in length).
- Record and upload a video audition.
- Pay the non-refundable application fee of $85 USD ($110 USD after January 20)
Video Audition Requirements:
- Audition videos must be shot in one continuous take and include all the required solos and excerpts for your instrument in the order they are listed.
- Repertoire, including any required solos or concertos, should be performed solo – no piano accompaniment.
- Absolutely no editing or sound enhancements of any kind are permitted.
- Audition videos that are suspected to have been edited or otherwise enhanced will be immediately disqualified.
- Please note due to the volume of applications and limited time for review, comments will not be provided for applicants.
- Woodwind applicants are highly encouraged, although not required, to audition on auxiliary instruments. Upon acceptance into Civic, however, all members are required to play auxiliary instruments as assigned.
RESUME GUIDELINES
Resumes should be no more than two pages in length. Please list experience you have had in the following areas:
- Education
- Primary Teachers
- Masterclass Performance Experience
- Orchestral Experience
- Chamber Music Experience
- Summer Festival Experience
- Teaching Experience
- Other employment experience, if any (e.g. Administrative, or other non-music employment)
FINANCIAL AID
For information on how to reduce or waive application fees, please visit: How can I apply for a fee waiver for my application? – Acceptd - Support
GENERAL VIDEO GUIDELINES
Musicians of the Chicago Symphony Orchestra listen and view all live and submitted video auditions. The reviewers expect high-quality video recordings that are the best possible representation of an applicant’s technical ability, tone quality and musicianship. Below are a few guidelines when preparing to make the video audition recording:
- The video frame should include your entire face, your instrument, and full range of motion while you are playing. Videos submitted without full visibility will not be considered.
- Good sound quality will make a substantial difference for the judges to get the most accurate sense of your music making, tone and timbre. However, professional equipment and/or studio space is not necessary. With attention to a few details, you can make a successful audition video using readily available consumer electronics.
- Please give careful consideration to the room/environment that you are recording your video. Please make certain you are well-lit – more light in front than behind you will make you more visible to the viewer. Also be mindful of miscellaneous items in the background that may be distracting to the viewer.
- Avoid recording near windows or rooms with excessive external noises that might distract the judges from listening to your playing.
- Please be certain to watch, and listen, to your video before submission, checking for audio levels and visual presentation of the video overall.
- FAQs and further suggestions on making a high-quality video can be found by clicking here.
Violin
Solo:
Applicant’s choice of ONE of the following:
Mozart Concerto No. 3
- First Movement Exposition
Mozart: Concerto No. 4
- First Movement Exposition
Mozart: Concerto No. 5
- First Movement Exposition
Excerpts:
Beethoven: Symphony No. 3 Eroica (1st Violin)
- Scherzo – Beginning to m. 170
Beethoven: Symphony No. 9 (1st Violin)
- III – m. 99 to m. 115
Brahms: Symphony No. 4 (1st Violin)
- IV – m. 33 to letter D
Bartók: Concerto for Orchestra (2nd Violin)
- V – m. 265 to m. 317
Schumann: Symphony No. 2 (1st Violin)
- II – beginning to 20 after letter K
Strauss: Don Juan (1st Violin)
- Beginning to 8 measures before letter D (first page)
Viola
Solo:
Stamitz: Viola Concerto
- First page of the International Edition
Excerpts:
Mozart: Symphony No. 35, “Haffner”
- IV – mm. 134-181
Mendelssohn: Scherzo from A Midsummer Night’s Dream
- Letter E to 3 mm. after Letter I
Shostakovich: Symphony No. 5
- I – Rehearsal 15-17
Strauss: Don Juan
Beginning to letter D (play as written, no cuts)
Cello
Solo:
First movement of a major concerto – Exposition
Excerpts:
Beethoven: Symphony No. 5
- Mvt II – Mm. 1-10, 49-59, and 98-106
MENDELSSOHN: Midsummer Night's Dream
- Scherzo, rehearsal N to O
BRAHMS: Symphony No. 3
- Mvt 3, beginning through bar 16
Strauss: Ein Heldenleben
- Beginning through 5 mm. after reh. 2
Double Bass
Solo:
Exposition of a standard bass concerto
Excerpts:
Beethoven: Symphony No. 5
- Mvt III – mm. 141-177; trio with no repeats
Brahms: Symphony No. 2
- Mvt I – Letter E to F
Mozart: Symphony No. 39
- Mvt I – mm. 13-21 and mm. 40-97 (end one bar after C)
Prokofiev: Lieutenant Kijé – Symphonic Suite
- Mvt II – Romance, bass solo
Strauss: Ein Heldenleben
- Reh 9 to 6 bars after Reh 12
Flute
Solo:
Mozart Concerto in G, K. 313
- Mvt I – Exposition
Excerpts:
Bach: "Aus Liebe will mein Heiland sterben" from St. Matthew Passion
- beginning through mm 18
Beethoven: Leonore Overture no.3
- 328-360 (fast solo)
Mendelssohn: Scherzo from A Midsummer Night’s Dream
- 12 mm. before letter P through the end
Debussy: Prelude to the afternoon of a faun
- opening 4 mm.
**Rossini: Semiramide Overture (Piccolo)
- 5 mm. after letter G through 1 mm. after letter H
** Optional auxiliary instrument excerpt.
Oboe
Solo:
MOZART: Concerto in C, K. 314
- Mvt. 1 – Exposition
Excerpts:
BEETHOVEN: Symphony No. 3
- Mvt. II – mm. 8-47
RAVEL: Le Tombeau de Couperin
- Mvt. I – mm. 1-14
DEBUSSY: La mer
- Mvt. II – Reh 17 - Reh 18
BRAHMS: Violin Concerto
- Mvt. II – mm 3-32
BARTOK: Concerto for Orchestra (Oboe II)
- Mvt. II – mm. 25-44
While there are no English Horn excerpts on the list, please note all section members will be expected to play English Horn on a rotational basis throughout the season. An English Horn will be provided if a member does not have access to one.
Clarinet
Mozart: Concerto in A, K. 622
- Mvt 1 – Exposition
Excerpts:
Beethoven: Symphony No. 6
- Mvt I – mm. 474-492
- Mvt II – mm. 68-77
- Mvt III – mm. 122-133
Mendelssohn: Scherzo from A Midsummer Night’s Dream
- Beginning through letter B
Mendelssohn: Symphony No. 3 - Scottish
- Mvt II – Beginning through 1 mm. after rehearsal B
Brahms: Symphony No. 3
- Mvt I – mm. 23 (reh B) – mm. 47 (4 after reh. C)
KODALY: Dances of Galánta (Galántai táncok)
- 31 – mm. 66
STRAVINSKY: L'Oiseau de feu Firebird Suite (1919)
- Variation de L’Oiseau de Feu
Shostakovich: Symphony No. 9
- Mvt III – mm. 1-17
**Berlioz: Symphonie Fantastique (E-flat Clarinet)
- Mvt V – mm. 40-78
**Grofe: Grand Canyon Suite (Bass Clarinet)
- Mvt III - 5 mm. after rehearsal 11 through end of mvt.
**While these auxiliary instrument excerpts are optional, please note Civic Members may be required to play auxiliary instruments on a rotational basis throughout the season.
Bassoon
Solo:
Mozart: Concerto in B-flat, K. 191
Mvt. 1 – Exposition
Excerpts:
MOZART: Overture to The Marriage of Figaro
- mm 101-171
RIMSKY-KORSAKOV: Scheherazade
- Mvt 2 solo (mm 5-26)
RAVEL: Rhapsodie espagnole
- Mvt I - cadenza, bassoon 1
STRAVINSKY: Rite of Spring
- Beginning solo through 3rd bar of rehearsal 3
BRAHMS: Violin Concerto
- Mvt II - mm 1-32 (Bassoon 2)
Horn
Solo:
Applicant’s choice of
Mozart: Concerto No. 2, K.417
- Mvt I – Exposition
OR
Mozart: Concerto No. 4, K.495
- Mvt I – Exposition
OR
STRAUSS: Concerto No.1, Op. 11
- Mvt I – Exposition
Excerpts (in any order):
BRAHMS: Symphony No. 3 (Horn I)
- Mvt III – mm. 98-110
BEETHOVEN: Symphony No. 7 (Horn I)
- Mvt I – mm 84-110
TCHAIKOVSKY: Symphony No. 4 (Horn II)
- Mvt I – mm. 1-20
STRAUSS: Till Eulenspiegels lustige Streiche (Horn I)
- mm 6-20
Trumpet
Solo:
HAYDN: Concerto for Trumpet in Eb
- Mvt I – Exposition and Development
Excerpts:
MUSSORGSKY/RAVEL: Pictures at an Exhibition
- Promenade
MAHLER: Symphony No. 5 in C# Minor
- Mvt 1: opening – 6 measures after rehearsal 1
- Mvt 1: 1 measure before rehearsal 13 – 1 measure before rehearsal 14
RAVEL: Piano Concert in G
- Mvt 1: rehearsal 2 to rehearsal 3
BIZET: Carmen
- Prelude
BACH: Christmas Oratorio
- 64 - Choral
Trombone
No Solo Work Required for Trombone Auditions
Excerpts:
Mozart: Requiem
- Tuba Mirum-Solo
Ravel: Bolero (Trombone I)
- Solo-2 mm. after reh. no. 10 to downbeat of reh. no. 11
Saint-Saëns: Symphony No.3 (Trombone I)
- Mvt I – letter Q to 2 mm. before letter R
Berlioz: Hungarian March (Trombone II)
- 6 before figure 4 to 2 after figure 5
Wagner: Ride of the Valkyries (Trombone 1)
- Mm 58-77 (B-Major section)
Bass Trombone
Solo:
Spillman: Concerto for Bass Trombone
- Mvt I – First page only
Excerpts:
Respighi: Pines of Rome
- Mvt II – Mm. 27-55
Schumann: Symphony No. 3, “Rhenish”
- Mvt IV – Beginning through mm. 18
Rossini: Overture to William Tell
- Letter C through 9 mm. after letter D
Verdi: Falstaff
- Act III, part 1 – Rehearsal no. 7 through 9 mm. after rehearsal no. 7
- Act III, part 1 – 4 mm. after reh. no. 13 through 20 mm. after no. 14
Kodály: Suite from Hary Janos
- Mvt IV – 5 mm. after reh. no. 5 through 29 mm. after rehearsal no. 5
Wagner: Das Rheingold
- Scene 2 - 6 mm. after rehearsal no. 17 through 2 mm. before rehearsal no. 18
- Scene 2 - Rehearsal no. 24a through 7 mm. after reh. no. 24a
- Scene 4
Tuba
Solo: Applicant’s choice (3 minutes maximum)
Excerpts:
Berlioz: Hungarian March
- Reh. 20
Gershwin: American in Paris
- Rehearsal Number 67
Mahler: Symphony No 5
- Scherzo starting 13 before Rehearsal Number 16
Prokofiev: Symphony No. 5
- 3 before 2 through 3 after 2
- 3 through 3 after 4
- 64-66
Revueltas: Sensemaya
- Rehearsal Number 2 through Rehearsal Number 8
Stravinsky: Petrouchka (1911 version)
- -Peasant with Bear
Wagner: Overture to Die Meistersinger
- Mm 1-27
- Mm 158-188
Wagner: Ride of the Valkyries
Percussion
FIRST/VIDEO ROUND EXCERPTS:
(Live audition repertoire will be announced with invitation)
Snare Drum:
Rimsky-Korsakov: Scheherazade
- Mv’t III: Reh. D to E
- Mv’t III: 5 after Reh. F to 8 after Reh. F
- Mv’t IV: Reh. P-R
- Mv’t IV: Reh. S-U
Prokofiev: Lt. Kije Suite
- Opening
Xylophone:
Gershwin: An American in Paris
- 4-7
- 20-21
- 61-62
Kodály: Hary Janos Suite
- Mv’t VI, Beginning- Reh. 1
Kabalevsky: Overture to Colas Breugnon
- 1 m. after Rehearsal 9 to Rehearsal 12
Glockenspiel:
Dukas: The Sorcerer’s Apprentice
- Rehearsal 17 to rehearsal 20
Tchaikovsky: The Nutcracker
- Act I, No. 9 Waltz of the Snowflakes: Letter G (m. 181) to m. 196
Tambourine:
Bizet: Aragonaise from Carmen
- Beginning-mm82
Cymbals:
Tchaikovsky: Romeo and Juliet
- 2 before Reh. O to 7 before Reh. P
Timpani
Solo: Etude 16 from “The Artist Timpanist” by Duncan Patton
Excerpts:
BARTOK Concerto for Orchestra, Mvt. IV
BARTOK Music for Strings, Percussion and Celeste, Mvt. II
BEETHOVEN Symphony No. 1, Mvts. II & III
BEETHOVEN Symphony No. 9, Mvts. I & II
HINDEMITH Symphonic Metamorphosis, Mvt. II
MAHLER Symphony No. 7, Mvt. V
MOZART Symphony No. 39, Mvt. I
SHOSTAKOVICH Symphony No. 1, Mvt. IV
STRAUSS Der Rosenkavalier
STRAVINSKY The Rite of Spring, Sacrificial Dance
TCHAIKOVSKY Romeo and Juliet Overture-Fantasy
TCHAIKOVSKY Symphony No. 4, Mvt. I
Harp
Solos:
Mozart: Concerto for flute and harp (1st Mvt. exposition)
OR
Händel: Concerto in B-flat (1st Mvt. exposition)
and
an additional solo piece of applicant’s choice
Excerpts (please select three of the following)
Bartók: Concerto for Orchestra
- IV, mm 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
- Rehearsal Number 4 to 5
Stravinsky: Symphony in Three Movements
- Mvt II, mm 117 to 125
Tchaikovsky: Swan Lake
- Act II cadenza, 25 to 26
Verdi: Overture to La Forza del Destino
Keyboard
Solos: (play all requirements indicated below)
- One Baroque period work written in fugal style
- One major movement from a Classical period sonata
- One Romantic period piece
Excerpts:
Bartók: Suite from the Miraculous Mandarin
- 5 mm. after rehearsal no. 23 through reh. no. 25
- 2 mm after reh. no. 31 through 4 mm. after rehearsal no. 35
Bartók: Music for Strings, Percussion, and Celeste
- Mvt II – Mm. 154-241
- Mvt IV – Mm. 107-183
Mahler: Symphony No. 6 (Celesta)
- 1 – mm. 98-115
Shostakovich: Symphony No. 1
- Mvt II
Strauss: Le Bourgeois Gentilhomme
- No 11 (“Das Diner”) – 7 mm. after rehearsal no. 109 through end of movement
Stravinsky: Petrouchka
- 2nd Part – Rehearsal nos. 93-119
Stravinsky: Symphony in Three Movements
- One measure before rehearsal no. 39 to rehearsal no. 48
- Rehearsal no. 75 – rehearsal no. 88
