Prescribed works

Section B in both the AMusTCL and LMusTCL exams tests knowledge of prescribed repertoire.

AMusTCL

The prescribed works for 2021-2024 are:

1. Monteverdi: L’Orfeo, Acts 1–3; Eulenburg ETP8025 (NB vocal scores are not suitable)
2. Handel: Water Music; Eulenburg ETP1308
3. Beethoven: Piano Trio in Bb major, op. 97, Archduke; Eulenburg ETP79
4. Tchaikovsky: The Nutcracker, Act 2; Dover 0486438368 *
5. Bartók: Concerto for Orchestra; Boosey & Hawkes M060105357 / Henle HN7001

* Please see below regarding permitted annotations to this work.

The prescribed works for 2025-2028 are:

1. Bach: Partita no. 6 in E minor, BWV 830; Henle HN1518
2. Mozart: Cosi fan Tutte, K.588, Act 1 only; Bärenreiter TP314 (NB vocal scores are not suitable)
3. Schubert: Die Schöne Müllerin, op. 25 (high voice/piano); Bärenreiter BA9117
4. Saint-Saëns: Symphony no. 3 (from page 55 to page 176); Dover DP15499 (this edition only) *
5. Tippett: A Child of Our Time; Eulenburg ETP8053 (this edition only) (NB vocal scores are not suitable)

There is no overlap period. Exams taking place in 2025 will only include questions on the prescribed works for 2025-2028.

LMusTCL

The prescribed works for 2023–2024 are:

either: i Opera

• Set work — Purcell: Dido and Aeneas; Eulenburg ETP929 (NB vocal scores are not suitable)

or: ii Keyboard music

• Set work — Liszt: Piano Sonata in B minor; Henle HN9273 (or any other reliable edition)

The prescribed works for 2025–2026 are:

either: i Lieder

• Set work — Strauss: Four Last Songs; Boosey & Hawkes M060112249

or: ii Chamber music

• Set work — Schubert: Piano Quintet in A major, D667, The Trout; Eulenburg ETP118

There is no overlap period. Exams taking place in 2025 will only include questions on the prescribed works for 2025-2026.

Annotations

Candidates will need to take an unmarked score of each work prepared for section B into the exam room. If the copy does not have printed bar numbers candidates should insert them in advance as questions will refer to places in the score by this method. Begin numbering afresh at the start of each movement. Bar numbers are the only permitted markings that candidates may have in their scores.

Tchaikovsky: The Nutcracker, Act 2 – the following annotations may be made to the Dover edition:

Bar numbers:

Bar numbers should be added using the ‘a’ and ‘b’ convention for first and second time bars. As an example for No. 13 ‘Waltz of the Flowers’:

• page 407 – complete with numbers 262a, 263a, 264a and 265a
• page 408 – use numbers 262b, 263b, 264b and 265b, on the basis that the 2nd time bracket line has been misprinted too short. Then continue in the usual way with 266, etc.

To check that bar numbering is correct for all movements, the total number of bars for each section is:

• No.10 (Scène) – 89
• No. 11 (Scène) – 142
• No. 12 – Divertissement
  • No. 12a (Le chocolat) – 78
  • No. 12b (Le café) – 102
  • No. 12c (Le thé) – 32
  • No. 12d (Trépak – Danse russe) – 84
  • No. 12e (Les Mirlitons – Danse des Mirlitons) – 77
  • No. 12f (La mère Gigogne et les polichinelles) – 156
• No. 13 (Valse des fleurs) – 341
• No. 14 (Pas de deux)
  • No. 14a (Intrada) – 74
  • No. 14b (Var. 1) – 51
  • No. 14c (Var. 2) – 84
  • No. 14d (Coda) – 102
• No. 15 (Valse finale) – 239
  • Apothéose – 55

The following corrections may be added to the score:

• No. 10, ‘Scene’:
  • bar 66 – there is a missing system break
• No. 12b, ‘Le Cafe’
  • bars 37-38 – bassoon 1 should read F-D F-D not F-Eb.
  • bar 61 – cello should have a bass clef not an alto clef
• No. 12f, ‘La Mere Gigogne’
  • bar 36 – violin 1 is marked pizzicato. There is subsequently no arco marking – this should be inserted at bar 52.

Saint-Saëns: Symphony no. 3 – the following annotations may be made to the Dover edition:

Bar numbers:

Bar numbering will follow the following format (based on the specified Dover DP15499 edition):

• Bar numbering starts from bar 1 at the beginning of the Poco adagio (p. 55) and ends on p. 70 (last bar).
• Bar numbering starts from bar 1 at the beginning of the Allegro moderato (p. 71) and ends on the 5th bar of p. 124.
• Bar numbering starts from bar 1 at the beginning of the Maestoso (6th bar of p. 124) and runs through to the end of the symphony.