Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. "The Flute Audition" then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from "Symphonic Metamorphoses" markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. "This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here." Emmanuel Pahud, 2017 Instrumentation:for flute Nicht weniger als 196 Probespielstellen aus 86 verschiedenen zu den Standards gehörenden Orchesterwerken quer durch die Musikgeschichte und die dort vertretenen Gattungen vereint der Herausgeber Henrik Wiese praxisorientiert, formal modern aufbereitet und textkritisch editiert in einem einzigen Kompendium. Aus seinem reichhaltigen Erfahrungsschatz im Orchester- sowie Hochschulbereich lässt er diverse Anmerkungen und Tipps mit einfließen, die die FlötistInnen auf viele Eventualitäten vorbereiten."Hier ist eine großartige Sammlung von Orchesterstellen für die Zukunft des jungen Musikers, der sich damit auf Probespiele in der ganzen Welt vorbereiten kann. Egal ob Opernhaus, Sinfonieorchester oder Kammerorchester: Es ist alles da, was eben international verlangt wird."Emmanuel Pahud, 2017Schwierigkeitsgrad: 2-5