For you in the academic community, what are your expectations concerning Classical and Baroque repertoire that you'd like students to have studied as potential music majors?
I'm not teaching at University, but I prepare students for admissions (only some of my students of course). So my comments are from that perspective.
First general thought is that some programs are very, very competetive in the piano departments. So what does a student need to gain admission and do well in a department like that? I think that's beyond my ability to answer in a forum post. But I do think we know and recognize such a pianist when we hear him (or her).
So getting to my actual point... my comments are geared toward the "average" music major, not the elite-one-in-a-million student. Also I'm trying to be realistic about what a student might have actually studied.
Beethoven - which sonatas?
I like them to have studied something from the opus 49s early on. A bagatelle. Then work in two or three sonatas - I like the lists already posted so won't duplicate.
Because exams are generally centered around historical music periods, Haydn sometimes gets ignored in favor of Mozart or Clementi. If the exam system lumps Beethoven into the same catagory then Haydn really gets neglected. I'm not saying I like this or think this is ideal... just stating what I have seen happen.
At least work from two different sonatas, and at least one movment in Sonata-Allegro form. The examples already listed are good.
Oh yes: Chopin. They should have studied some significant Chopin, included Nocturnes and Waltzes. Although they should have studied some major etude I'm ok with a student picking another etude besides Chopin. However Chopin is probably the most common choice.
Another important catagory (I think): The great Russain composers. I try to have students play something from this school.
Same questions for the Baroque period. Which Bach would you like students to have tackled?
Generally students will have studied at least some Two Part Inventions, some movements from a French Suite, and a Prelude and Fugue from the WTC.
Don't forget the contemporary composers.