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ARTIST RESIDENCIES

At the Lake George Music Festival, our primary focus is to bring together a group of like-minded peers, energized by the opportunity to work, play, and perform together in a tight-knit and nurturing community. 

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A PLACE TO PERFORM, COLLABORATE, AND GROW

Each year, we gather a dynamic spectrum of musicians made up of undergraduate and graduate students, early-career freelancers, professional orchestra members, college faculty, and renowned touring artists.

 

Participants come not only to perform, but to grow intellectually, artistically, and professionally. The festival offers a networking opportunity like no other, where new connections spark inspired collaborations, and meaningful mentorships lead to lifelong artistic partnerships.

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Programming is developed collaboratively by Barbora Kolářová, Alyssa Weinberg, and Roger Kalia, together with a core artistic committee of longtime festival alumni and professional principal players. 

AN INCOMPARABLE SETTING FOR AN UNPARALLELED EXPERIENCE

The stunning backdrop of the Adirondacks, our historic facility, and welcoming community make any LGMF residency a truly fulfilling and treasured experience.

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Held each year, the festival takes place on the grounds of the historic Fort William Henry Hotel, in the Village of Lake George, along the southern shore of the lake. LGMF offers a unique program for instrumentalists, defined by the absence of a traditional student/faculty dichotomy, formal curriculum, and private lessons. Instead we strive to foster a fully immersive and collaborative artistic environment

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HOW TO APPLY

All Festival Artists are invited based on either a recorded video audition, or a live audition. Enrollment is limited to the number of musicians required to form a full symphony orchestra, along with a select number of pianists.

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Applications will open October 15th, 2026. The final deadline will be March 10th, 2027 at 11:59 PM EST.

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Applications will be accepted for: violin, viola, cello, bass, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, percussion, and piano.

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    Please submit your application HERE >>

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    The form will ask for the following: 

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    • CV or Resume in PDF format

    • Screenshot of $25 application fee* paid

    • Link to Video Audition (see audition repertoire details in the section below)

    • Personal statement

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    *Application fee can be paid via PayPal HERE or via Venmo: @LakeGeorgeMusicFestival. If prompted, Last 4 digits are 5089.

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    *While we do request a $25 application fee to help cover administrative costs, we never want that to be a barrier for any artist. If the application fee is a hardship for any reason, you can easily opt out without jeopardizing approval of your application by requesting a no-questions-asked fee waiver. Our goal is to make this opportunity as accessible and inclusive as possible for all musicians. To request a fee waiver, please email info@lakegeorgemusicfestival.com.

     

    Alumni are exempt from paying the application fee. 

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    Letters of recommendation are optional. 

  • Prospective applicants can also choose to live audition. 

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    Click HERE to schedule a live audition.

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    This form will ask for a resume, personal statement, a requested live audition location, and a preferred audition time. Live auditions will last approx. 10 minutes. 

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    Letters of recommendation are optional.

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    There is no application fee to live audition.

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    2027 Live Audition Schedule: TBA. Anticipated dates will be in January and February 2027 at various schools across the country.

  • The Lake George Music Festival welcomes residency applications from artists of all nationalities, backgrounds, and identities, ages 18 and up.

     

    In most cases, re-auditioning is required for returning artists​.

     

    These guidelines are designed to balance continuity with renewal, while preserving the high artistic standards and collaborative spirit of the Festival.

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    Commitment to Diversity & Artistic Excellence

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    The Lake George Music Festival is committed to fostering a diverse, inclusive, and welcoming artistic community, where talent, potential, and artistic integrity are celebrated above all else.

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    While our roster often features mostly undergraduate and graduate musicians demonstrating strong professional promise, we encourage applications from anyone at an appropriate stage in their musical journey whose artistry aligns with the mission and level of the Festival.

  • Audition repertoire is the same for both video auditions and live auditions.

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    Percussionists must submit a video audition. 

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    Repertoire must consist of two components: solo repertoire and orchestral excerpts.

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    Total video audition time should be 10–20 minutes. Piano applicants should submit 20-30 minutes of repertoire. 

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    Live auditions will last 10 minutes and must include the required orchestral excerpts.

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    Your solo repertoire and orchestral excerpts may be submitted in one video link. Separate video links are also acceptable.

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    Piano accompaniment is not required. 

     

    Recordings do not need to be professionally produced. A single, unedited camera angle with clear audio is preferred.

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    Video recordings should have been made within the last 6 months.

     

    SOLO REPERTOIRE

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    • Violin, Viola, Cello, and Double Bass: One movement from an unaccompanied work by J.S. Bach and one movement from a standard concerto or virtuoso work.

    • Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Bass Trombone, Tuba: One movement or exposition from a standard concerto or sonata (Mozart is strongly encouraged where appropriate) and one contrasting solo work.

    • Percussion: One work for keyboard percussion (marimba, vibraphone, or xylophone) and one work for snare drum or timpani.

    • Piano: Selections must include one work from the Classical period, one work from the Romantic period, and one Contemporary work (composed after 1900). Pianists are exempt from the orchestral excerpt requirement. Pianists should not include concertos. Pianists may include a chamber work as one of their selections, provided all members of the ensemble are present in the video or live audition.

     

    ORCHESTRAL EXCERPTS

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    Applicants should prepare any three orchestral excerpts from the list below for their instrument.

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    Flute

    • Beethoven — Symphony No. 3 (mvt. IV, mm. 172–200)

    • Brahms — Symphony No. 4 (mvt. IV, mm. 89–105)

    • Mendelssohn — A Midsummer Night’s Dream, Scherzo (2 bars before reh. P to the end)

    • Strauss — Till Eulenspiegel (reh. 6–8 and reh. 33–34)

    • Ravel — Daphnis et Chloé, Suite No. 2 (reh. 176 to 2 after reh. 179)

    • Prokofiev — Symphony No. 1, Classical (mvts. II & IV)

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    Oboe

    • Brahms — Violin Concerto (mvt. II, mm. 3–32, solo)

    • Ravel — Le Tombeau de Couperin (Prélude, opening to reh. 2)

    • Rossini — La scala di seta, Overture (opening solo to reh. 3)

    • Tchaikovsky — Symphony No. 4 (mvt. II, beginning to reh. 2)

    • Schubert — Symphony No. 9 (mvt. II, m. 8 to reh. A)

    • Bartók — Concerto for Orchestra (mvt. III, mm. 12–22)

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    Clarinet

    • Beethoven — Symphony No. 6 (mvt. I, mm. 474–492; mvt. II, mm. 68–77)

    • Brahms — Symphony No. 3 (mvt. II, mm. 1–22)

    • Mendelssohn — A Midsummer Night’s Dream, Scherzo (mm. 1–48)

    • Kodály — Dances of Galánta (cadenza, mm. 31–65)

    • Respighi — Pines of Rome (mvt. III, pickup to reh. 13 to reh. 15)

    • Ravel — Daphnis et Chloé, Suite No. 2 (3 after reh. 212 to reh. 218)

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    Bassoon

    • Mozart — Le nozze di Figaro, Overture (mm. 101–123 and 139–171)

    • Ravel — Boléro (opening bassoon solo)

    • Rimsky-Korsakov — Scheherazade (mvt. II solos)

    • Tchaikovsky — Symphony No. 4 (mvt. II, m. 274 to end)

    • Tchaikovsky — Symphony No. 6 (mvt. I, mm. 1–12)

    • Stravinsky — The Firebird, Berceuse (reh. 6 to 8)

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    Horn

    • Strauss — Ein Heldenleben (beginning to 4 before reh. 2)

    • Shostakovich — Symphony No. 5 (mvt. I, reh. 17 to 21)

    • Brahms — Symphony No. 3 (mvt. III, reh. F to 12 after reh. F)

    • Beethoven — Symphony No. 9 (mvt. III, mm. 83–99 and 109–121, Horn 4)

    • Beethoven — Symphony No. 7 (mvt. I, mm. 84–101, Horn 1 in A)

    • Ravel — Piano Concerto in G (mvt. I, reh. 25 to 26)

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    Trumpet

    • Mahler — Symphony No. 5 (mvt. I, opening to 8 before reh. 2)

    • Mussorgsky–Ravel — Pictures at an Exhibition, Promenade (opening to reh. 2, in C)

    • Stravinsky — Petrushka (Ballerina’s Dance, 1 before reh. 69 to reh. 70)

    • Bizet — Carmen, Prelude (to Act I)

    • Strauss — Till Eulenspiegel (reh. 30 to 33 and reh. 36 to 38)

    • Ravel — Piano Concerto in G (mvt. I, reh. 2 to 3 and reh. 36 to end)

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    Trombone 

    • Ravel — Boléro (reh. 10 to reh. 11, solo)

    • Mozart — Requiem, Tuba mirum (beginning to reh. A)

    • Rossini — William Tell, Overture (reh. C to 8 after reh. D)

    • Saint-Saëns — Symphony No. 3, Organ (reh. Q to 2 before reh. R)

    • Wagner — Die Walküre, Ride of the Valkyries (pickup to reh. 3 to 3 after reh. 6)

    • Beethoven — Symphony No. 5 (mvt. IV, mm. 374–395 and 442–455)

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    Bass Trombone

    • Wagner — Das Rheingold, Entry of the Gods into Valhalla (Scene 4)

    • Wagner — Die Walküre, Ride of the Valkyries (principal section)

    • Wagner — Tannhäuser, Overture (reh. A for 17 bars)

    • Schumann — Symphony No. 3 (mvt. IV, beginning to m. 19)

    • Haydn — The Creation (No. 26, mm. 1–37)

    • Kodály — Háry János (mvt. IV, reh. 5 to 10 after reh. 6)

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    Tuba

    • Wagner — Die Meistersinger, Prelude (mm. 158–188)

    • Wagner — Die Walküre, Ride of the Valkyries (mm. 125–142)

    • Berlioz — Hungarian March, Damnation of Faust (reh. 4 to 2 after reh. 5)

    • Stravinsky — The Rite of Spring (reh. 64 to 71)

    • Prokofiev — Symphony No. 5 (mvt. I, reh. 3 to 2 before reh. 6)

    • Mahler — Symphony No. 1 (mvt. III, solo first entrance)

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    Percussion

    • Timpani — Beethoven, Symphony No. 9 (mvt. I, m. 513 to end)

    • Timpani — Beethoven, Symphony No. 5 (mvt. III, reh. C, into mvt. IV)

    • Snare — Rimsky-Korsakov, Scheherazade (mvt. III, reh. D–E; mvt. IV, reh. P–R)

    • Snare — Shostakovich, Symphony No. 10 (mvt. II, reh. 98 to end)

    • Snare — Prokofiev, Lieutenant Kijé (mvt. I, reh. 1 to 2)

    • Xylophone — Messiaen, Oiseaux exotiques (reh. 6 to 7)

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    Violin

    • Strauss — Don Juan (beginning to reh. B)

    • Brahms — Symphony No. 4 (mvt. II, mm. 88–103)

    • Beethoven — Symphony No. 3, Scherzo (mm. 1–165, no repeat)

    • Mozart — Symphony No. 39 (mvt. II, mm. 1–26)

    • Schumann — Symphony No. 2, Scherzo (mm. 1–54)

    • Mendelssohn — A Midsummer Night’s Dream, Scherzo (m. 17 to reh. D)

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    Viola

    • Strauss — Don Juan (beginning to reh. B)

    • Beethoven — Symphony No. 5 (mvt. II, mm. 1–10)

    • Mendelssohn — A Midsummer Night’s Dream, Scherzo (m. 17 to reh. D)

    • Brahms — Symphony No. 4 (mvt. IV, mm. 41–80)

    • Strauss — Ein Heldenleben (principal solo passages)

    • Brahms — Variations on a Theme by Haydn (Variations VII–VIII)

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    Cello

    • Strauss — Don Juan (reh. R to reh. T)

    • Brahms — Symphony No. 2 (mvt. II, mm. 1–15)

    • Brahms — Piano Concerto No. 2 (mvt. III, reh. D to end, solo)

    • Mozart — Symphony No. 35 (mvt. IV, mm. 1–54)

    • Beethoven — Symphony No. 5 (mvt. II, opening)

    • Prokofiev — Romeo and Juliet, Balcony Scene (as marked)

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    Double Bass

    • Mozart — Symphony No. 35 (mvt. IV, mm. 134–197)

    • Beethoven — Symphony No. 5 (mvt. III, beginning to m. 78, and Trio)

    • Strauss — Ein Heldenleben (reh. 9 to reh. 11)

    • Brahms — Symphony No. 1 (mvt. II, mm. 46–60)

    • Verdi — Rigoletto (Act II Scene & Duet, mm. 13–29)

    • Beethoven — Symphony No. 7 (mvt. I, mm. 277–299)

  • There is no tuition fee to attend Lake George. 

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    All acceptance packages include complimentary lodging with a host family, daily lunch, and a travel stipend. 

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    Space is limited, so we ask that overnight guests not accompany artists. Some exceptions may be made for spouses or partners with advance permission. Please note that pets are not permitted during the residency.

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    Alternatively, artists have the option to stay on our centrally located hotel campus, the Fort William Henry Hotel for an additional cost. Both single rooms and shared rooms are available. 

  • Programming is developed collaboratively by Barbora Kolářová, Alyssa Weinberg, and Roger Kalia, together with a core artistic committee of longtime festival alumni and professional principal musicians.

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    Performance assignments are carefully tailored to each artist's strengths and interests. All participants are expected to remain in residence for the full two-week season.

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    Most instrumentalists can expect to perform in two orchestra concerts and one large ensemble work. Many are also featured in chamber music performances, with assignments based on repertoire and instrumentation. 

     

    Pianists perform in a variety of settings, including solo, piano four-hands, and chamber music.

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    Additional performance opportunities may include community outreach concerts, pop-up performances, and the Festival's signature Late-Night Concert series.

    • An all-access pass to attend all festival events.

    • Lunch, daily. 

    • Professional audio and video recordings of your performances.

    • Professional performance photography

    • Discounted Headshots from professional photographer Stephanie Bartik

    • Artist boat cruise

    • Ice cream socials

    • Late Night Concerts

    • Workshops and seminars with artist managers, guest performers, and industry leaders.

    • two complimentary concert tickets for each performance to give to family and friends.

Every time I've returned, I've forged new connections with likeminded musicians from around the world.

- MIA BARCIA COLOMBO

The Lake George Music Festival played an indispensable role in defining who I am as a performer.

- SARAH HADLEY YAKIR

LGMF has consistently provided me the scene to perform a diverse repertoire with incredible musicians. 

- ALEXANDER THEISS

ACCESS OUR EXTENSIVE ALMUNI NETWORK

LGMF Alumni have gone on to win positions with the New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, and the Atlanta, Dallas, and Houston Symphonies, have won management contracts with Concert Artists Guild, Young Concert Artists, and Astral Artists, and teach at prestigious institutions such as Juilliard, Yale, Curtis, and Peabody.

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  • Current CV or Resume

  • Audition video links

  • Application fee of $25

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