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Ditto for me doing 109.

koji (STSD)

I wonder if they will let me play one of my own works for my senior recital..if not I will sneak it in at the encore anyway.

Do it, and then do it for auditions also. You'll have something that no one else does.

In looking at different music schools, the most common undergrad audition requirements I've seen go pretty much like this:

In looking at different music schools, I've seen these requirements several times:

1. a prelude and fugue from the WTC, or another work by Bach that contains a fugue
2. a classical sonata by Mozart, Haydn, or a sonata by Beethoven(sometimes they also include the numbers of sonatas they do NOT want to hear)
3. a romantic work (sometimes they list composers)
4. a twentieth century work.

That's pretty much the standard fare (I was always amused by the 20th century requirement, as hardly anyone plays anything past 1920 anyway. I commented once to Lowenthal about the fact that are they going to change the requirements when we reach the 21st century?)
Curtis (if it's still this way) has rather strange requirements: Bach, Classical sonata and two chopin works.

koji (STSD)

Daddy, aren't we there yet?

huh?-is koji yer father?!
WHO'S YA DADDY?

Lemon Scented,

Why are you dredging up threads that are more than a year old?

If you have something to add to the discussion there might be a case for this, but - like your post above - if you have nothing constructive to add, you should let sleeping threads lie.

I'd like to briefly comment on judges and judging. My background for this is unfortunately somewhat limited in the musical world, and so I will be speaking from more of a "universal judging perspective." My background for this is quite extensive, starting with my martial arts background and filtering down through everything else I have done in descending order of "impressiveness".

In most endeavors, judging panels are usually comprised of "coaches/teachers/mentors/etc" and "past/semi-current performers". In the case of the latter, your job is quite easy. Find performances of that particular judge and extrapolate what they interpret. In the case of the former, it is slightly more difficult and tedious because you will often have to filter through their students. Afterwards, compile the data and structure your own interpretation accordingly for maximum chance of "pleasing" the most number of judges to the greatest degree.

This may not benefit you for auditions, but it will serve you well in later competitions if you go that route. Now, it would seem there is a nice little shortcut in music that doesn't always exist in other art forms (particularly since performers are being judged on past works that have not changed in 100+ years). Read publications by the judges to see whose interpretations they appreciate, and then model your own after those interpretations, bringing to light the important aspects of each.

As an art, this will lead (and perhaps has already led) to "standardized" interpretations, where anything but is considered faux pas. This is why I do not like competitions in artistic fields. Yes, it promotes ability so that individual competitors push themselves to be the best, but it also promotes an inherently conservative approach whereby the values of those who "came before" are more important than current trends (since it is more-likely to have older judges on a panel than a group of individuals the same age or younger than the competitors). Thus, the art seeks to please what was instead of what is, and then we run into the brick wall of extinction...because the world moves on even if you don't. (But this is another topic.)

So, I hope some of that helped, though I think it may be of more benefit to competitors and teachers of students who want to be competitors. It has been a day for me of too much thought already...so I will now go de-intellectualize with some sort of youthful debauchery.