Audition Repertoire for the Advancing Pianist, Book 1: Piano Book

Magrath has done the hard work of balance here. Rather than skewing toward the obvious or the showy, she's built two complete programs that span genuine stylistic breadth, from Bach's contrapuntal clarity through Romantic character pieces to late-19th-century French sophistication. Pianists preparing auditions get something rare: curated programs that sound coherent, not assembled.

These pieces carry the weight of real repertoire. You move through architectural forms, intimate character studies, and lyrical brilliance without ever feeling like you're playing exercises dressed up as music. The collection honors both the pianists playing and the composers' intentions.

Pianists preparing for college auditions, competitions, or professional recitals who need proven masterworks at the early advanced level. Teachers looking for audition material that demonstrates serious musical growth without requiring virtuosic displays.

• Approach the Bach Invention with the same rhythmic precision you'd apply to chamber music; the independence of the voices matters more than pedal color.
• The Scarlatti sonata's pastoral character invites dancers in the phrasing, but resist overuse of rubato that muddies the keyboard textures.
• Let the Beethoven's second movement breathe; resist the impulse to rush through the thinner textures.
• Separate the Schubert and Fauré across your two programs rather than programming them consecutively; their harmonic languages need distinct staging.

Pair one complete program with contrasting works from other sources to create a full recital, or use individual selections as standalone audition pieces. The breadth means you can build a 20-minute set that demonstrates mastery across eras without forced juxtaposition.

• Baroque counterpoint and voice independence (Bach Invention)
• Classical sonata form and harmonic architecture (Haydn first movement)
• Characterization in miniature forms (Mendelssohn, Schubert, Fauré)
• Romantic harmonic language and color (Tcherepnin Bagatelles, Schubert)
• Structural listening across multi-movement works
• Stylistic differentiation between early Classical and Romantic idioms