Auditions for the 2026/27 Season are now closed. Stay tuned for details on the 2027/28 applications.
PROGRAM OVERVIEW
Learn more about the Civic Musician Experience, including information about rehearsals and concert cycles, professional development, compensation and additional opportunities.
Read more about the Civic Fellowship Program.
MEMBERSHIP COMPENSATION 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 2026/27 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.
Regular Membership Eligibility
To join the Civic Orchestra as a Regular Member, an applicant must be 18 years of age or older. 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 or Master’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, 2026/27 fellowships may not be available for all instruments.
For the 2026/27 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 may not be enrolled in a degree or certificate program during their fellowship. 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 2026.
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. A handful of Associate Members are engaged to play on most Civic concert cycles. An Associate Member may be called upon to fill a vacant position in the event a Regular Member leaves a position. Associate Members, like Regular Members, are paid $105 per service. Total compensation will vary depending on the number of services in a concert cycle. The Civic Orchestra does not provide reimbursement for travel or hotel accommodation expenses.
Associate Member Eligibility
To join the Civic Orchestra as an Associate Member, an individual must be 18 years of age or older. Most members are between the ages of 22 and 30 and are either graduate level students or post-graduates with a Bachelor’s degree or Master’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 Associate Members will need to provide proof of eligibility to work in the United States for the duration of the agreed upon services.
International applicants, please see additional information below.
INTERNATIONAL APPLICANTS
The Civic Orchestra accepts applications from non-U.S. 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 Fellows, Regular Members or Associate Members.
AVAILABLE PROGRAM SPOTS
Civic does not publish how many spots will be available in each section for the following season, because there is no way to know this with accuracy. If you want to join Civic, you are encouraged to apply.
The number of available spots for the following season will likely increase between April 1, 2026 (when decisions are distributed), and October 2026 (the start of the 2026/27 Season). This is because returning Civic musicians often win jobs or receive other professional opportunities during this time. When spots become available after April 1 and on a rolling basis thereafter, Associate Members will be invited to join the orchestra as Regular Members. It is typical for quite a few Associate Members to be offered Regular Membership between April-October. Potential applicants should not assume certain positions will or will not be available the following season.
AUDITION INFORMATION
APPLICATION AND AUDITION REQUIREMENTS
Application Deadline: 11:59 p.m. Central Time on Sunday, February 15, 2026
A fee of $85 applies for applications submitted before January 25, 2026, and a fee of $110 applies for applications submitted between January 26-February 15, 2026. All application fees are non-refundable. Financial assistance is available via Acceptd.
PERCUSSION AUDITIONS
Percussion applicants must submit a video-recorded audition by January 25, 2026, as the preliminary round. Applicants who are selected as finalists will be notified as such by February 13, 2026, and will be required to audition live at Symphony Center in Chicago. Live auditions for finalists will be held on March 29, 2026. No walk-in auditions will be accepted.
APPLICATION INSTRUCTIONS
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.
- Record and upload a video audition.
- Pay the non-refundable application fee of $85 USD ($110 USD after January 25).
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.
FINANCIAL AID
Acceptd (the company that administers Civic Orchestra applications) offers application fee waivers to select applicants based on financial need. 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 RECORDING GUIDELINES
Musicians of the Chicago Symphony Orchestra will listen to all submitted auditions. The reviewers expect high-quality video recordings that are the best possible representation of an applicant’s technical ability, tone quality and musicianship. Reviewers will not be able to view the applicant’s name, headshot or other application information during the audition review process.
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 are not necessary. With attention to a few details, you can make a successful audition video using readily available consumer electronics.
- 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.
Download complete audition repertoire listings in PDF format.
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)
- III (Scherzo) – beginning to m. 170
- Beethoven: Symphony No. 9 (1st Violin)
- III – mm. 99-115
- Brahms: Symphony No. 4 (1st Violin)
- IV – m. 33 to Reh. D
- Bartók: Concerto for Orchestra (2nd Violin)
- V – mm. 265-317
- Schumann: Symphony No. 2 (1st Violin)
- II – beginning to 20 bars after Reh. K
- Strauss: Don Juan (1st Violin)
- beginning to 8 bars before Reh. 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: A Midsummer Night’s Dream
- Scherzo – Reh. E to 3 bars after Reh. I
- Shostakovich: Symphony No. 5
- I – Reh. 15 to Reh. 17
- Strauss: Don Juan
- beginning to Reh. D (play as written, no cuts)
Cello
Solo:
- Exposition of a standard concerto
Excerpts:
- Beethoven: Symphony No. 5
- II – mm. 1-10, 49-59, and 98-106
- Mendelssohn: A Midsummer Night’s Dream
- Scherzo – Reh. N to Reh. O
- Brahms: Symphony No. 3
- III – beginning through m. 16
- Strauss: Ein Heldenleben
- beginning through 5 bars after Reh. 2
Double Bass
Solo:
- Exposition of a standard concerto
Excerpts:
- Beethoven: Symphony No. 5
- III (Trio) – mm. 141-177 (no repeats)
- Brahms: Symphony No. 2
- I – Reh. E to Reh. F
- Mozart: Symphony No. 39
- I – mm. 13-21, mm. 40-97 (end one bar after C)
- Prokofiev: Lieutenant Kijé Symphonic Suite
- II (Romance) – bass solo (2 bars after Reh. 15 to Reh. 16)
- Strauss: Ein Heldenleben
- 9 to 6 bars after Reh. 12
Flute
Solo:
- Mozart: Concerto in G, K. 313
- I – Exposition
Excerpts:
- Bach: “Aus Liebe will mein Heiland” sterben from St Matthew Passion
- beginning through m. 18
- Beethoven: Leonore Overture No. 3
- 328-360 (fast solo)
- Mendelssohn: Scherzo from A Midsummer Night’s Dream
- 12 bars before Reh. P through the end
- Debussy: Prelude to The Afternoon of a Faun
- opening 4 bars
- **Rossini: Semiramide Overture (Piccolo)
- 5 bars after Reh. G through 1 bar after Reh. H
**Optional auxiliary instrument excerpt. Please note that Civic members may be required to play auxiliary instruments on a rotational basis throughout the season. An alto flute will be provided if a member does not have access to one. Civic does not provide piccolos.
Oboe
Solo:
- Mozart: Concerto in C, K. 314
- 1 – Exposition
Excerpts:
- Beethoven: Symphony No. 3
- II – mm. 8-47
- Ravel: Le Tombeau de Couperin
- I – mm. 1-14
- Debussy: La mer
- II – Reh. 17-Reh. 18
- Brahms: Violin Concerto
- II – mm. 3-32
- Bartok: Concerto for Orchestra (Oboe II)
- 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.
Clarinet
Solo:
- Mozart: Concerto in A, K. 622
- 1 – Exposition
Excerpts:
- Beethoven: Symphony No. 6
- I – mm. 474-492
- II – mm. 68-77
- III – mm. 122-133
- Mendelssohn: Scherzo from A Midsummer Night’s Dream
- beginning through Reh. B
- Mendelssohn: Symphony No. 3 (Scottish)
- II – beginning through 1 bar after Reh. B
- Brahms: Symphony No. 3
- I – mm. 23-47 (Reh. B to 4 after Reh. C)
- Kodaly: Dances of Galánta (Galántai táncok)
- 31-66
- Stravinsky: L'Oiseau de feu (Firebird Suite) (1919)
- Variation de L’Oiseau de Feu
- Shostakovich: Symphony No. 9
- III – mm. 1-17
- **Berlioz: Symphonie fantastique (E-flat Clarinet)
- V – mm. 40-78
- **Grofe: Grand Canyon Suite (Bass Clarinet)
- III - 5 bars after Reh. 11 through end of Mvt.
**Optional auxiliary instrument excerpt. While these auxiliary instrument excerpts are optional, please note that Civic members may be required to play auxiliary instruments on a rotational basis throughout the season. A bass clarinet will be provided if a member does not have access to one.
Bassoon
Solo:
- Mozart: Concerto in B-flat, K. 191
- I – Exposition
Excerpts:
- Mozart: Overture to The Marriage of Figaro
- 101-171
- Rimsky-Korsakov: Scheherazade
- II solo (mm. 5-26)
- Ravel: Rhapsodie espagnole
- I – cadenza, bassoon 1
- Stravinsky: The Rite of Spring
- beginning solo through 3rd bar of Reh. 3
- Brahms: Violin Concerto
- II – mm. 1-32 (Bassoon 2)
Please note that Civic members may be required to play auxiliary instruments on a rotational basis throughout the season. A Contrabassoon will be provided if a member does not have access to one.
Horn
Solo:
Applicant’s choice of one of the following:
- Mozart: Concerto No. 2, K. 417
- I – Exposition
- Mozart: Concerto No. 4, K. 495
- I – Exposition
- Strauss: Concerto No. 1, Op. 11
- I – Exposition
Excerpts (in any order):
- Brahms: Symphony No. 3 (Horn I)
- III – mm. 98-110
- Beethoven: Symphony No. 7 (Horn I)
- I – mm. 84-110
- Tchaikovsky: Symphony No. 4 (Horn II)
- I – mm. 1-20
- Strauss: Till Eulenspiegel’s lustige Streiche (Horn I)
- 6-20
Trumpet
Solo:
- Haydn: Concerto for Trumpet in Eb
- I – Exposition and Development
Excerpts:
- Mussorgsky: Pictures at an Exhibition (orch. Ravel)
- Promenade (opening)
- Mahler: Symphony No. 5
- I – opening– 6 bars after Reh. 1
- I – 1 bar before Reh. 13 –1 bar before Reh. 14
- Ravel: Piano Concert in G
- I – Reh. 2 through Reh. 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 bars after Reh. 10 through downbeat of Reh. 11
- Saint-Saëns: Symphony No. 3 (Trombone I)
- I – Reh. Q through 2 bars before Reh. R
- Berlioz: Hungarian March (Trombone II)
- 6 bars before Reh. 4 through 2 bars after Reh. 5
- Wagner: Ride of the Valkyries from Die Walküre (Trombone 1)
- 58-77 (B-Major section)
Bass Trombone
Solo:
- Spillman: Concerto for Bass Trombone
- I – First page only
Excerpts:
- Respighi: Pines of Rome
- II – mm. 27-55
- Schumann: Symphony No. 3, (Rhenish)
- IV – beginning through m. 18
- Rossini: Overture to William Tell
- C through 9 bars after Reh. D
- Verdi: Falstaff
- Act III, part 1 – Reh. 7 through 9 bars after Reh. 7
- Act III, part 1 – 4 bars after Reh. 13 through 20 bars after Reh. 14
- Kodály: Suite from Háry János
- IV – 5 bars after Reh. 5 through 29 bars after Reh. 5
- Wagner: Das Rheingold
- Scene 2 – 6 bars after Reh. 17 through 2 bars before Reh. 18
- Scene 2 – Reh. 24a through 7 bars after Reh. 24a
- Scene 4
Tuba
Solo:
Applicant’s choice of solo (3 minutes maximum)
Excerpts:
- Berlioz: La damnation de Faust
- Hungarian March – Reh. 20 through 2 bars after Reh. 21
- Gershwin: American in Paris
- 3 bars after Reh. 67 through downbeat of Reh. 68
- Mahler: Symphony No. 5
- Scherzo – 13 bars before Reh. 16 through Reh. 17
- Prokofiev: Symphony No. 5
- I – 3 bars before Reh. 2 through 3 bars after Reh. 2
- I – Reh. 3 through 3 bars after Reh. 4
- III – 1 bar after Reh. 64 through 3 bars before Reh. 66
- Revueltas: Sensemayá
- 2 through Reh. 8
- Stravinsky: Pétrouchka (1911 version)
- Peasant with Bear – 2 bars after Reh. 100 through 3 bars before Reh. 101
(Reh. 189 in 1947 version)
- Wagner: Die Meistersinger
- Overture – mm. 1-27 (Reh. A in some editions)
- Overture – mm. 158-188 (Reh. J through downbeat of Reh. L in some editions)
- Wagner: Die Walküre
- Act III: Ride of the Valkyries – depending on edition:
- 9 bars before Reh. 11 through downbeat of Reh. 12 OR Pickup to Reh. 11 through 5 bars after Reh. 12
- Act III: Ride of the Valkyries – depending on edition:
Percussion
Snare Drum:
- Schuman: Symphony No. 3
- IV – mm. 143-165
- Rimsky-Korsakov: Capriccio Espagnol
- III
- Prokofiev: Lieutenant Kijé Symphonic Suite
- I – Reh. 13 to end
- Rimsky-Korsakov: Scheherazade
- IV – Reh. P through Reh. T
Xylophone:
- Kodály: Suite from Háry János
- VI – Beginning through Reh. 1
- Schuman: Symphony No. 3
- IV – mm. 230-244
- Kabalevsky: Overture to Colas Breugnon
- 1 bar after Reh. 9 through Reh. 12
- 1 bar before Reh. 36 to Reh. 37
- Reh. 57 to end
Glockenspiel:
- Dukas: The Sorcerer’s Apprentice
- 4 bars after Reh. 17 through 4 bars after Reh. 19
- Respighi: Pines of Rome
- Reh. 6 to end
Vibraphone:
- Bernstein: Symphonic Dances from West Side Story
- mm. 620-631
Tambourine:
- Bizet: Aragonaise from Carmen
- Beginning to 7 bars before Reh. C
Cymbals:
- Tchaikovsky: Romeo and Juliet
- 2 bars before Reh. O to 7 bars before Reh. P
Timpani
Solo:
- Etude 16 from “The Artist Timpanist” by Duncan Patton
Excerpts:
- Bartok: Concerto for Orchestra
- IV – mm. 42-50
- Bartok: Music for Strings, Percussion and Celeste
- II – mm. 301-338
- Beethoven: Symphony 1
- II – mm. 81-95
- III – mm. 44-79
- Beethoven: Symphony 9
- I – mm. 513-end
- II – Reh. F through Reh. H
- Hindemith: Symphonic Metamorphosis
- II – 5 bars after Reh. S to Reh. T
- II – 5 bars after Reh. V through 8 bars after Reh. W
- II – 2 bars before Z to end
- Mahler: Symphony No. 7
- V – Reh. 223 through 2 bars before Reh. 225
- Mozart: Symphony 39
- I – Beginning through m. 21
- Shostakovich: Symphony 1
- IV – Reh. 35 through 3 bars after Reh. 36
- Strauss: Der Rosenkavalier Suite
- “Quick Waltz” – Reh. 62 through 5 bars after Reh. 71
- Stravinsky: Sacrificial Dance from The Rite of Spring (Timpani 1)
- Reh. 189 to end
- Tchaikovsky: Romeo and Juliet, Overture-Fantasy
- 5 bars after N through 2 bars after Reh. P
- Tchaikovsky: Symphony 4
- I – 4 bars before Reh. T through 9 bars after Reh. U
Harp
Solos:
- Mozart: Concerto for flute and harp (Mvt. I exposition)
OR
- Handel: Concerto in B-flat (Mvt. I exposition)
- 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: The Young Person’s Guide to the Orchestra
- Var I & Fugue – I to end
- Donizetti: Lucia di Lammermoor
- Act I cadenza
- Ravel: Tzigane
- 4 to Reh. 5
- Stravinsky: Symphony in Three Movements
- II – mm. 117 to 125
- Tchaikovsky: Swan Lake
- Act II cadenza, Reh. 25 to Reh. 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 bars after Reh. 23 through Reh. 25
- 2 bars after Reh. 31 through 4 bars after Reh. 35
- Bartók: Music for Strings, Percussion, and Celeste
- II – mm. 154-241
- IV – mm. 107-183
- Mahler: Symphony No. 6 (Celesta)
- Mvt I – mm. 98-115 (Reh. 11 through 1 bar after Reh. 13 in some editions)
- Shostakovich: Symphony No. 1
- II
- Strauss: Le Bourgeois Gentilhomme
- No 11: Das Diner – 7 mm. after Reh. 109 through end of movement
- Stravinsky: Pétrouchka
- 2nd Part – Reh. 93 through Reh. 119
- Stravinsky: Symphony in Three Movements
- 1 bar before Reh. 39 to Reh. 48
- 75 – Reh. 88
