Credo Festival Orchestra (ages 18-26)

Credo Festival ORchestra
July 14-19, 2025

Orchestral students will experience a focused week of professional preparation of Mahler’s Symphony No. 4 under the direction of David Chan (Metropolitan Opera concertmaster). Each section will be led by a titled player from a major American orchestra. Every day will present numerous formal and informal opportunities for close musical and personal mentorship with acclaimed faculty.

“Music making was always the top priority and I felt immensely blessed to be a part of something so pure and good. Credo teaches and encourages each musician to be highly skilled technicians, thoughtful artists, and sensitive collaborative players, but most importantly it carries the message that music comes from deeply rooted place in each of us, and with that we are capable of expressing our joy and giving our musical message to everyone who listens.”

—Hannah Hammel (Credo ‘14, ‘15)
Principal Flute, Detroit Symphony Orchestra

“Faith and music are two things that transcend our conventional methods of understanding and expression. Credo is an opportunity that, if taken seriously, can promote change within ourselves beyond what we can perceive.”

—2024 Student

“This was one of the most incredible musical experiences I've ever been a part of. To play Mahler at such a high level is a rare experience, but to do so alongside peers and professionals who share similar values and a desire to pursue beauty together through this music is even rarer.”

—2024 Student

 

Credo Festival Orchestra Faculty

Festival Orchestra Director:

  • David Chan, Metropolitan Opera, Juilliard, Manhattan School of Music

2025 faculty:

  • David Taylor, Assistant Concertmaster, Chicago Symphony Orchestra

  • Holly Jenkins, Acting Associate Concertmaster, Baltimore Symphony

  • Lisa-Beth Lambert, Violin, National Symphony

  • Hanah Stuart, Violin, San Diego Symphony

  • Marlea Simpson, Associate Principal Viola, Minnesota Orchestra

  • Anne Martindale Williams, Principal Cello, Pittsburgh Symphony

  • Andrew Anderson, Acting Assistant Principal Bass, Chicago Lyric Opera Orchestra

  • *Marie Tachouet, Principal Flute, Chicago Lyric Opera Orchestra

  • Cynthia Koledo DeAlmeida, Principal Oboe, Pittsburgh Symphony

  • Benjamin Lulich, Principal Clarinet, Seattle Symphony

  • Anthony Georgeson, Associate Principal Bassoon, Atlanta Symphony Orchestra

  • William Caballero, Principal Horn, Pittsburgh Symphony Orchestra

  • Steven Franklin, Principal Trumpet, St. Louis Symphony

  • Simón Gómez, Principal Timpanist, Illinois Philharmonic Orchestra

*denotes 2024 faculty

 
 

To Apply

Complete and submit an application and pay the application fee. You will need to have several completed audition recordings before finishing the application (see Audition Requirements below).

Each recording should be in one unedited take representing your best performance of that work. Your completed audition portfolio will consist of the following videos:

  • Solo work

  • Excerpts

  • You will also submit a 1-3 minute video answering the question, "What inspires you?" 

The Credo Festival Orchestra has a “Rolling Admissions” policy – the earlier you apply, the greater the chance you’ll be accepted .

Credo has made our programming available at low cost to everyone; however, if the fees will be a burden, please email the Credo office to receive a financial aid application.

  • Announce your first and last name at the beginning of each video.

    You may send different takes of each piece performed, but each take must be unedited.

  • Application fee: $50

    February 10, 2025: Application deadline

    February 20, 2025: Results announced

  • Tuition: $800

  • Dorm and meal plan options will be posted in November.

 

Where

are Alumni Now?

Alumni Achievements
 

Credo alumni occupy leadership positions in major orchestras, colleges, and conservatories throughout the country, and are consistently among the major prize winners in national and regional competitions.

 

Credo Festival Orchestra Audition Requirements

  • SOLO: (Preferred) Exposition of Mozart Concerto No. 3, 4, or 5

    If sending a recording of one of the Mozart concertos listed above presents a hardship, the exposition of any standard concerto is an acceptable substitution.

    ORCHESTRAL EXCERPTS:

    1. Brahms: Symphony No. 4, 4th mvt. – mm. 33 to 80

    2. Mendelssohn: Scherzo from A Midsummer Night’s Dream – beginning to 7 after fig. D

    3. Strauss: Don Juan – beginning to 9 before fig. D

  • SOLO: approximately 5 minutes of a major concerto

    ORCHESTRAL EXCERPTS:

    1. Berlioz: Roman Carnival Overture, 3 after fig. 1 to fig. 3

    2. Mendelssohn: Scherzo from A Midsummer Night’s Dream – beginning to 7 after fig. D

    3. Strauss: Don Juan – beginning to 13 after fig. C

  • SOLO: approximately 5 minutes of a major concerto

    ORCHESTRAL EXCERPTS:

    1. Beethoven: Symphony No. 5, 2nd mvt. – mm. 1-10, 49-59, and 98-106

    1. Mozart: Symphony No. 35 "Haffner," 4th mvt.  – mm. 134 to m. 181

    2. Strauss: Ein Heldenleben – beginning to 3 before fig. 3

  • SOLO:  approximately 5 minutes of a major concerto OR a movement of Bach 

    ORCHESTRAL EXCERPTS:

    1. Berlioz: Symphonie fantastique, 4th mvt. – fig. B to fig. F (3 after fig. 50 to fig. 53)

    2. Mozart: Symphony No. 40, 1st mvt. – mm. 115 (with pickup) to 138

    3. Mahler: Symphony No. 1, 3rd mvt. – mm. 3 to 10

  • Students who play Piccolo are encouraged to submit the additional excerpt for consideration. 

    SOLO: Mozart Concerto in G Major, K. 313 – 1st mvt. exposition

    ORCHESTRAL EXCERPTS:

    1. Beethoven: Leonore Overture No. 3 – mm. 328 to 360

    2. Bizet: Entr'acte from Carmen (Prelude to Act III) – mm. 1 to 23

    3. Ravel: Daphnis and Chloé Suite No. 2 – fig. 176 to 2 after fig. 179

    Piccolo (OPTIONAL):

    1. Ippolitov-Ivanov: Caucasian Sketches, Suite No. 1, No. 4 (Procession of the Sardar), beginning to fig. B

  • Students who play English Horn are encouraged to submit the additional excerpt for consideration. 

    SOLO: Mozart Concerto in C Major, K. 314 – 1st mvt. exposition

    ORCHESTRAL EXCERPTS:

    1. Brahms: Symphony No. 1, 2nd mvt. – mm. 17-23 and 38-43

    2. Ravel: Le tombeau de Couperin, 1st mvt. – beginning to fig. 2; 6 after fig. 8 to fig. 9

    3. Rimsky-Korsakov: Scheherazade, 2nd mvt. – fig. A to fig. B

    English Horn (OPTIONAL):

    1. Dvořák: Symphony No. 9 “From the New World,” 2nd mvt. – beginning to fig. 1

  • Students who play Eb or Bass Clarinet are encouraged to submit the additional excerpts for consideration. 

    SOLO: Mozart Concerto in A Major, K. 622 – 1st mvt. exposition

    ORCHESTRAL EXCERPTS:

    1. Beethoven: Symphony No. 8, 3rd mvt. – Trio, mm. 48-78

    2. Kodály: Dances of Galanta – mm. 31-66 and 571-580

    3. Mendelssohn: Scherzo from A Midsummer Night’s Dream – beginning to 19 after fig. E

    Eb Clarinet (OPTIONAL):

    1. Berlioz: Symphonie fantastique, 5th mvt. – fig. E to 4 before fig. G (fig. 63 to 4 before fig. 65)

    Bass Clarinet (OPTIONAL):

    1. Strauss: Don Quixote – fig. 14 and fig. 16

  • Students who play Contrabassoon are encouraged to submit the additional excerpt for consideration.  

    SOLO: Mozart Concerto in Bb Major, K. 191 – 1st mvt. exposition

    ORCHESTRAL EXCERPTS:

    1. Mozart: Overture to Le nozze di Figaro – mm. 139 to 171

    2. Ravel: Bolero – solo

    3. Rimsky-Korsakov: Scheherazade, 2nd mvt. – solo (beginning to fig. A) and cadenza (fig. L to fig. M)

    Contrabassoon (OPTIONAL):

    1. Beethoven: Symphony No. 5, 4th mvt. – beginning to 6 after fig. B

    2. Ravel: Mother Goose Suite, 4th mvt. – fig. 2 to 9 after fig. 5

  • SOLO: approximately 5 minutes of a major concerto

    ORCHESTRAL EXCERPTS:

    1. Beethoven: Symphony No. 9, 3rd mvt. – mm. 83 to 99 (4th horn)

    2. Puccini: Tosca, Act III – beginning to fig. 1

    3. Strauss: Till Eulenspiegel – beginning to fig. 1

    4. Tchaikovsky: Symphony No. 5, 2nd mvt. – mm. 8 to 28 (1st horn)

  • SOLO: Haydn Trumpet Concerto, 1st mvt. exposition

    ORCHESTRAL EXCERPTS:

    1. Mahler: Symphony No. 5, 1st mvt. – beginning to 6 after fig. 1

    2. Mussorgsky: Pictures at an Exhibition, Promenade – beginning to fig. 2

    3. Respighi: Pines of Rome, 2nd mvt. – offstage solo

 
 

Credo Festival Orchestra FAQ

  • A typical day at Credo includes sessions involving both the full orchestra and smaller groups based on your instrument, ranging from sectional rehearsals to master classes and mock auditions. Non-playing activities include classes on yoga, care of the body, and performance anxiety. The inspirational “Faculty Fireside” chats give students an opportunity to hear about the personal journeys of our amazing faculty members.

    Sample Weekday Schedule:

    9:00-10:00 A.M. - Yoga

    10:30 A.M. - 12:00 P.M. - Sectional rehearsal or studio class

    Lunch

    1:00-1:30 P.M. - Time for centering

    2:00-4:30 P.M. - Full orchestra rehearsal

    Dinner

    6:30-8:00 P.M. - Faculty Fireside chat

  • The age suggestion is simply advisory for any Credo program. Personally and musically mature students will certainly be included in the program if they are selected through the application process.

  • The Credo Festival Orchestra is conceived as a peak performance experience where students have the unique opportunity of playing alongside some of the most highly respected principal players from top American orchestras. Students who are preparing to audition for professional orchestras are a natural fit, but so are all players with a solid conservatory-level technical and musical background, and who are self-motivated (students will self-navigate among several rooms on different floors of Symphony Center). If you are a slightly younger or more intermediate-level string player, Credo still has a home for you in the String Intensive program.

  • Yes. Credo is committed to using financial aid to make our program available to all. Typically, financial aid goes to those who demonstrate significant need.

  • So far, Credo students have come from 43 states: New York to Hawaii and Alaska to Florida! Over the years, students also journeyed from Hong Kong, India, Indonesia, Japan, Korea, China, the Netherlands, Taiwan, New Zealand, Canada, Australia, and Tanzania to share the Credo experience.

  • No. Credo is a music program of high-level study and performance. Credo programs use faith and service elements to enrich and deepen the student’s commitment to excellence and appreciation of the special power of music.

  • YES! Credo (Latin for “I believe”) is a place for development and strengthening of faith. The required morning sing is led from a non-denominational Christian perspective by faculty – and is cherished by students of all faiths! At Credo, students from Christian denominations and several non-Christian faiths have grown together by discovering their common beliefs and respectfully discussing differences.