Participate

Participate

SEASON PARTNER

A WORD FROM THE PRESIDENT

Dear friends of the OSM Manulife Competition,

If you did postsecondary studies, you’ll no doubt remember the anxiety about finding yourself a job when those studies ended and how nervous you were preparing for interviews. Now put yourself in the shoes of a musician and ask yourself how you would have felt in the face of the job market. A musician’s occupation is remarkable, we have to agree, but arrived at only with considerable difficulty.

The OSM Manulife Competition is, of course, a great challenge that demands enormous effort of every participant. But it is also an extraordinary opportunity to prepare for the occupation of musician and, for the prize-winners, a one-of-a-kind stepping stone for launching an artistic career.

The OSM Manulife Competition is ideally equipped to remain the most important music competition in Canada intended exclusively for young Canadians: top-calibre judges, conscientious and specialized; seasoned, dedicated professionals; enthusiastic external partners, mentoring musicians from the OSM happy to be involved with the competitors; and impassioned volunteers who love their competition. It is on this basis that we continue to develop our event, with the aim of making it even more attractive for young Canadian musicians.

Lastly, after the more than 75 years of its existence, the Competition is welcoming our first competitors this year in the “Organ” category, at Église St-Jean Baptiste for the preliminaries and at Maison symphonique for the finals.

I wish one and all an outstanding competition!

pierre-goulet

Pierre Goulet

Sincerely, Pierre A. Goulet
President, OSM Manulife Competition

78th Edition

November 21 to 25, 2017

WOODWINDS BRASS VOICE

CATEGORIES

Woodwinds

  • For contestants 16 to 25 years of age on December 1, 2017
  • Flute, oboe, clarinet, alto saxophone, bassoon

Brass

  • For contestants 16 to 25 years of age on December 1, 2017
  • Horn, trumpet, alto/tenor trombone, bass trombone, tuba

Voice

For contestants 30 years or under on December 1, 2017


REPERTOIRE – WOODWINDS

Important:

1. The Competition is divided into three rounds: preliminaries, semifinals and finals. The candidate cannot perform the same work in two different rounds.

2. We ask candidates to focus their attention on the composition and balance of their program, as this should highlight their artistic and technical merits as well as present works of different periods or esthetics.

3. Excerpts from works, as established through standard performance practice, are allowed in certain cases (e.g., movements). We recommend that any proposed excerpts be submitted to the OSM Manulife Competition Committee for approval prior to the registration deadline.

4. When permitted, equivalent works must be submitted to the approval of the OSM Manulife Competition Committee prior to the registration deadline.

5. Please note that the quality of the video recording may influence the jury for the preliminary round. It is recommended that the candidate use the finest human and technical resources available so as to submit a high-quality video. No recording with orchestra accompaniment will be accepted.

6. The repertoire to be performed in concert with the OSM by the 2017 OSM Manulife Competition Grand Prize winner will be determined by the OSM administration in collaboration with the winner.


FLUTE

Preliminaries: video audition recording

  1. Two contrasting movements of the candidate’s choice from one of the following sonatas:
  • J. S. Bach: Sonata in B minor, BWV 1030
  • J. S. Bach: Sonata in E major, BWV 1035

B. One work from the following list:

    • H. Dutilleux: Sonatine
  • L. Ganne: Andante et Scherzo
  • Or equivalent – approval required by the Competition Committee

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list
  • S. Prokofiev: Sonata for Flute and Piano in D major, Op. 94
  • C. Reinecke: Sonata for Flute and Piano in E major, Op. 167
  • C.-M. Widor: Suite for Flute and Piano, Op. 34
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinals item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • J. Ibert: Flute Concerto
  • A. Jolivet: Concerto for Flute and String Orchestra
  • L. Liebermann: Flute Concerto, Op. 39
  • W. A. Mozart: Flute Concerto No. 1 in G major, K. 313
  • C. Nielsen: Flute Concerto, FS 119
  • C. Reinecke: Flute Concerto in D major, Op. 283

OBOE

Preliminaries: video audition recording

A. One piece from the following list:

  • J.S. Bach: Sonata in G minor, BWV 1030b for Oboe (Flute), Keyboard and Continuo (Peters Editions)
  • J.S. Bach: Concerto in F major for Oboe, Strings and Continuo (Sikorski Editions)

B. One piece from the following list:

  • B. Britten: Six Metamorphosis after Ovid, Op. 49
  • A. Dorati: Five pieces for Solo Oboe (Boosey & Hawkes)
  • Or equivalent – approval required by the Competition Committee

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes):

  1. One piece from the following list:
  • C. Saint-Saens: Sonata for Oboe and Piano in D major, Op. 166
  • H. Dutilleux: Sonata for Oboe and Piano
  • N. Skalkottas: Concertino for Oboe and Piano
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  1. One mandatory Canadian work – to be announced in spring 2017

Finals:

One concerto from the following repertoire:

  • B. Martinu: Concerto for Oboe and Small Orchestra
  • W. A. Mozart: Oboe Concerto in C Major, K. 314 (285d)
  • R. Strauss: Concerto in D Major for Oboe and Small Orchestra
  • R. Vaughan-Williams: Concerto in A Minor for Oboe and Strings
  • B. A. Zimmermann: Concerto for Oboe and Small Orchestra

CLARINET

Preliminaries: video audition recording

  • A) C. M. von Weber: Concertino for Clarinet and Orchestra in C minor/E flat major, Op. 26, J. 109

B) One work from the following list:

  • C. Debussy: Première Rhapsodie for Clarinet and Piano
  • I. Stravinsky: Three Pieces for Solo Clarinet
  • Or equivalent – approval required by the competition Committee

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • J. Brahms: Clarinet Sonata No. 1 in F minor or No. 2 in E-flat major, Op. 120
  • W. Lutoslawski: Dance Preludes for Clarinet and Piano
  • C. Saint-Saëns: Clarinet Sonata
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • A. Copland: Concerto for Clarinet, String Orchestra, Harp and Piano
  • W. A. Mozart: Clarinet Concerto in A major, K. 622
  • C. Nielsen: Clarinet Concerto, Op. 57
  • C. M. von Weber: Clarinet Concerto No. 2 in E-flat major, Op. 74, J. 118
  • J. Françaix: Clarinet Concerto

ALTO SAXOPHONE

Preliminaries: video audition recording

A) One piece from the following list:

  • H. Tomasi: Ballade
  • S. Karg-Elert: two of the 25 Caprices for saxophone

B) One piece from the following list:

  • C. Lauba: one of the nine Études for alto saxophone (Vol.1)
  • R. Lemay: one of the five Études

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • P. Creston: Sonata for Alto Saxophone and Piano, Op. 19
  • A. Desenclos: Prélude, cadence et final
  • F. Schmitt: Légende, Op. 66
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A, that can be performed either on alto, soprano or tenor saxophone (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • M. Constant: Concertante for Alto Saxophone and Orchestra
  • I. Dahl: Concerto for Alto Saxophone and Wind Orchestra
  • K. Husa: Élégie et Rondeau for alto saxophone and orchestra
  • J. Ibert: Concertino da camera for Solo Saxophone and Chamber Orchestra
  • F. Martin: Ballade
  • H. Tomasi: Concerto for Alto Saxophone and Orchestra
  • A. Glazunov : Concerto for Alto Saxophone and Orchestra

BASSOON

Preliminaries: video audition recording

A) One piece from the following list:

  • F. Devienne: Bassoon Sonatas, Op. 24: No. 3 or No. 5
  • A. Vivaldi: one bassoon concerto of the candidate’s choice

B) One work from the following repertoire:

  • H. Dutilleux: Sarabande et cortège for Bassoon and Piano
  • P. Jeanjean: Prélude et Scherzo
  • Or equivalent – approval required by the jury

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • M. Bitsch: Concertino for Bassoon and Piano
  • O. Nussio: Variations on an Arietta by Pergolesi for Bassoon and String Orchestra
  • A. Tansman: Sonatina for Bassoon and Piano
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • J. Françaix: Concerto for Bassoon and Strings
  • J. N. Hummel: Bassoon Concerto in F major
  • A. Jolivet: Concerto for Bassoon, Strings, Harp and Piano
  • W. A. Mozart: Bassoon Concerto in B flat major, K. 191
  • C. M. Weber: Bassoon Concerto in F major, Op. 75

REPERTOIRE – BRASS

Important:

1. The Competition is divided into three rounds: preliminaries, semifinals and finals. The candidate cannot perform the same work in two different rounds.

2. We ask candidates to focus their attention on the composition and balance of their program, as this should highlight their artistic and technical merits as well as present works of different periods or esthetics.

3. Excerpts from works, as established through standard performance practice, are allowed in certain cases (e.g., movements). We recommend that any proposed excerpts be submitted to the OSM Manulife Competition Committee for approval prior to the registration deadline.

4. When permitted, equivalent works must be submitted to the approval of the OSM Manulife Competition Committee prior to the registration deadline.

5. Please note that the quality of the video recording may influence the jury for the preliminary round. It is recommended that the candidate use the finest human and technical resources available so as to submit a high-quality video. No recording with orchestra accompaniment will be accepted.

6. The repertoire to be performed in concert with the OSM by the 2017 OSM Manulife Competition Grand Prize winner will be determined by the OSM administration in collaboration with the winner.


HORN

Preliminaries: video audition recording

A) One piece from the following list:

  • C. Saint-Saens: Morceau de Concert
  • P. Dukas: Villanelle

B) One piece from the following list:

  • L. van Beethoven: Sonata in F major, Op. 17
  • J. Vignery: Sonata, Op. 7
  • Or equivalent – approval required by the jury

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • E. Bozza: En Forêt
  • K. Pilss Tre Pezzi: II Intermezzo
  • R. Schumann: Adagio and Allegro in A flat major for Horn and Piano, Op. 70
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • R. Glière: Horn Concerto, Op. 91
  • W. A. Mozart: Horn Concerto No. 2 in E flat major, K. 417
  • W. A. Mozart: Horn Concerto No. 4 in E flat major, K. 495
  • R. Strauss: Horn Concerto No. 1 in E flat major, Op. 11
  • R. Strauss: Horn Concerto No. 2 in E flat major
  • O. Knussen: Horn Concerto, Op. 28
  • D. Gougeon: Cor et âme, for Horn and Orchestra

TRUMPET

Preliminaries: video audition recording

A) One work from the following list:

  • J. N. Hummel: Trumpet Concerto in E flat major
  • J. Fasch: Trumpet Concerto in D major

B) G. Enesco: Légende

Or equivalent – approval required by the competition Committee

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • O. Böhme: Trumpet Concerto in F minor, Op. 18
  • P. Hindemith: Sonata for Trumpet and Piano in B flat major
  • A. Jolivet: Concertino for Trumpet
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • A. Arutiunian: Trumpet Concerto
  • J. Haydn: Trumpet Concerto in E-flat major, Hob. VIIe:I
  • G. P. Telemann: Concerto for Trumpet, Strings and Continuo in D major, TV51, No. D7
  • H. Tomasi: Trumpet Concerto
  • D. Liptak: Trumpet Concerto
  • J. Turrin: Trumpet Concerto

TROMBONE (TENOR AND ALTO)

Preliminaries: video audition recording

  1. F. David: Concertino for trombone and orchestra

Or equivalent – approval required by the competition Committee

  1. One work from the following list:
  • J. M. Defaye: Deux danses
  • F. Martin: Ballade for Trombone and Piano

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • J. Castérède: Sonatina for Trombone and Piano
  • Hindemith: Trombone Sonata
  • E. Ewazen: Sonata for Trombone and Piano
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  2. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • G. Albrechtsberger: Concerto for Alto Trombone and Strings
  • L. Grøndahl: Trombone Concerto
  • G. Jacob: Trombone Concerto
  • N. Rota: Trombone Concerto
  • H. Tomasi: Trombone Concerto
  • P. Creston: Fantasy for Trombone

BASS TROMBONE

Preliminaries: video audition recording

  1. E. Sachse: Concertino for Bass Trombone

Or equivalent – approval required by the competition Committee

  1. One work from the following list:
  • O. Lebedev: Concerto in One Movement for Bass Trombone or Tuba
  • Alec Wilder: Sonata for Bass Trombone and Piano

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One work from the following list:
  • E. Bozza: New Orleans
  • J. Brahms: Vier ernste Gesänge, low voice
  • G. Frescobaldi: Canzoni (one of the candidate’s choice)
  • Or equivalent – approval required by the Competition Committee
  1. One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)
  1. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • E. Ewazen: Concerto for Tuba or Bass Trombone
  • J. Filas: Romance Concertante
  • A. Lebedev: Concerto No. 2 for Tuba and Orchestra
  • T.R. George: Bass Trombone Concerto
  • Vaclav Nelhybel: Concerto for Bass Trombone and Orchestra
  • John Williams: Concerto for Tuba and Orchestra

TUBA

Preliminaries: video audition recording

A) One work from the following list

  • J. Castérède: Sonatina
  • Halsey Stevens: Sonatina
  • Or equivalent – approval required by the competition Committee

B) One work from the following list

  • A. Capuzzi: Concerto for Double Bass (arr. Catelinet)
  • R. Wilhelm: Concertino – first movement

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

A.    One work from the following list:

  • B. Broughton: Sonata
  • P. Hindemith: Sonata for Bass Tuba and Piano
  • T. Madsen: Sonata for Tuba and Piano, Op. 34
  • Or equivalent – approval required by the Competition Committee

B.    One work of the candidate’s choice, contrasting in style and esthetic with semifinal item A (approval required by the Competition Committee)

C. One mandatory Canadian work – to be announced in spring 2017

Finals

One concerto from the following repertoire:

  • E. Bozza: Concertino for Tuba
  • R. Vaughan Williams: Concerto in F minor for Bass Tuba and Orchestra
  • J.T. Williams, Concerto for tuba and orchestra
  • A. Plau: Concerto for Tuba and Strings

REPERTOIRE – VOICE

1. The Competition is divided into three rounds: preliminaries, semifinals and finals. The candidate cannot perform the same work in two different rounds.

2. We ask candidates to focus their attention on the composition and balance of their program, as this should highlight their artistic and technical merits as well as present works of different periods or esthetics.

3. Excerpts of works, as established through standard performance practice, are allowed in certain cases (e.g., movements). We recommend that any proposed excerpts be submitted to the OSM Manulife Competition Committee for approval prior to the registration deadline.

4. Please note that the quality of the video recording may influence the jury for the preliminary round. It is recommended that the candidate use the finest human and technical resources available so as to submit a high-quality video. No recording with orchestra accompaniment will be accepted.

5. In the preliminary round, the candidate must sing in at least two different languages. In both the semifinal and final rounds, the candidate must sing in at least three different languages.

6. The opera arias must be sung in their original language and key.

7. At least one work must be sung in French in the semifinal and final rounds.

8. The repertoire to be performed in concert with the OSM by the 2017 OSM Manulife Competition Grand Prize winner will be determined by the OSM administration in collaboration with the winner.

Preliminaries: video audition recording

  1. Bach or Handel: One aria of the participant’s choice
  2. One French Mélodie or German Lied
  3. One opera aria

Semifinals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. Mozart: one concert or opera aria
  2. A group of songs (Mélodies, Lieder, art songs, etc.) in the original language, by the same composer; may be a cycle or a selection of pieces chosen by the candidate.
  3. One opera aria
  4. One mandatory Canadian work – to be announced in spring 2017

Finals (minimum duration: 25 minutes / maximum duration: 40 minutes)

  1. One aria from a sacred work (mass, cantata, oratorio, etc.)
  2. Two opera arias from different schools
  3. One work or excerpt of a work from the vocal repertoire with orchestra

STRINGS – Class A (18 to 25 years of age on December 1, 2016)

 

VIOLIN A

Preliminaries: audition demo recording (video)

  • J.S. Bach: either the Adagio and Fugue from a sonata for solo violin, or 2 contrasting movements from a Partita or the Chaconne from Partita No. 2;
  • Paganini: one Caprice of the contestant’s choice;
  • The first movement of a classical concerto (Mozart, Beethoven or Haydn [No 1 in C major]) different than the one selected for the Finals round.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • A sonata of the contestant’s choice by one of these composers: Beethoven, Brahms, Debussy, Fauré, Franck, Mozart, Prokofiev, Schubert, Schumann, R. Strauss or Walton;
  • A work of the contestant’s choice from a different century than that of the sonata selected in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals

A concerto or an orchestral piece chosen from the following repertoire: J.S. Bach (A minor or E major), Barber, Bartók, Beethoven, Brahms, Bruch, Shostakovich (Opus 99 or 129), Dvořák, Elgar, Glazunov, Haydn (No. 1 in C major), Khachaturian, Korngold, Lalo (F major or Symphonie espagnole), Mendelssohn, Paganini (No. 1 in D major), Prokofiev (No. 1 or No. 2), Saint-Saëns (No. 3 in B minor), Sibelius, Spohr (No. 8 in A minor, Opus 47, “Gesangsszene”), Stravinsky, Tchaikovsky, Vieuxtemps (Opus 31 or 37), Wieniawski (No. 1 or No. 2).

 

VIOLA A

Preliminaries: audition demo recording (video)

  • J.S. Bach: Two contrasting movements from a suite, a partita or Adagio and Fugue from a solo sonata;
  • A movement from a solo suite, concert study (Étude de concert) or caprice (19th or 20th century);
  • A first movement from a classical concerto different than the one being played in the Finals round.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • One of the following:
    • Schumann: Maerchenbilder, Op. 113
    • Brahms: Sonata Opus 120, Nos. 1 or 2 (arr. for viola and piano)
    • Bruch: Romance for viola and orchestra in F major, Op. 85 (arr. for viola and piano)
    • Paganini: Sonata per la Grand Viola e Orchestra, Op. 35 (arr. for viola and piano)
    • Shostakovich: Sonata for viola and piano, Op. 147
    • or equivalent subject to approval by the Competition committee.
  • A work of the contestant’s choice from a century different than that of the work described in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals
A concerto or an orchestral piece chosen from the following repertoire: Bartók, Hindemith (Der Schwanendreher), Hoffmeister, Milhaud, Schnittke, Stamitz, Walton.

 

CELLO A

Preliminaries: audition demo recording (video)

  • J.S. Bach: two contrasting movements from a solo cello suite;
  • A concert study (Étude de concert) or a movement from a virtuosic solo work (19th or 20th century);
  • A first movement from a classical concerto different than that selected in the Final rounds.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • A 20th-century sonata from one of the following composers: Shostakovich, Britten, Barber, Prokofiev, Poulenc, Debussy or equivalent subject to approval by the Competition committee;
  • One work of the contestant’s choice (19th century);
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals

A concerto chosen from the following repertoire: Shostakovich (No. 1 or No. 2), Dvořák, Elgar, Haydn (No. 1 in D major or No. 2 in C major), Lalo, Prokofiev (Symphonie concertante, Opus 125), Saint-Saëns, Schumann, Tchaikovsky (Variations on a Rococo Theme), Walton.

 

DOUBLE-BASS A

Preliminaries: audition demo recording (video)

  • J.S. Bach: two contrasting movements from any solo cello suite
  • Bottesini: any piece for double bass and piano (except for Concerto No. 1 in F-sharp Minor, Concerto No.2 in B minor, or Allegro di Concerto “alla Mendelssohn”)
  • A first movement from one of the following (different than that selected for the Final round):
    • Vanhal: Concerto in D major (cadenza by Heinz Karl Gruber)
    • Hoffmeister: Concerto in D major
    • Sperger: Concerto no 15 in D major
    • Sperger: Sonata in B minor (T36)
    • Sperger: Sonata in D major (T40)

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • One of the following:
    • Glière: Four pieces
    • Hindemith: Sonata
    • Misek: Sonata No. 2 in E minor, Op. 6 or Sonata No. 3 in F major. Op. 7
    • Montag: Sonata in E minor
    • or equivalent subject to approval by the Competition committee.
  • One work of the contestant’s choice contrasting with the selected in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals
A concerto chosen from the following repertoire: Bottesini (Concerto No. 1 in F-sharp minor or No. 2 in B minor), Dittersdorf (Concerto in E major, cadenza by Heinz Karl Gruber), Koussevitzky (Concerto in F-sharp minor), Proto (Carmen Fantasy), Sperger (Concerto No. 15 in D major), Tubin (Concerto for Double-Bass), Vanhal (Concerto in D major, cadenza by Heinz Karl Gruber).

 

Class B: 17 years of age or under on December 1, 2016

 

VIOLIN B

Preliminaries: audition demo recording (video)

  • J.S. Bach: either the Adagio and Fugue from a sonata for solo violin, or 2 contrasting movements from a Partita or the Chaconne from Partita No. 2;
  • Paganini: one Caprice of the contestant’s choice or one equivalent virtuosic work by another composer subject to approval by the Competition committee;
  • The first movement of a classical concerto (Mozart, Beethoven or Haydn [No. 1 in C major]) different than that selected in the Finals round.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • A sonata of the contestant’s choice by one of these composers: Beethoven, Brahms, Debussy, Fauré, Franck, Mozart, Prokofiev, Schubert, Schumann, R. Strauss or Walton;
  • A work of the contestant’s choice from a different century than that of the sonata performed in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals

A concerto or an orchestral piece chosen from the following repertoire: Bach (A minor or E major), Barber, Bartók, Beethoven, Brahms, Bruch, Shostakovich (Opus 99 or 129), Dvořák, Elgar, Glazunov, Haydn (No. 1 in C major), Khachaturian, Korngold, Lalo (F major or Symphonie espagnole), Mendelssohn, Paganini (No. 1 in D major), Prokofiev (No. 1 or No. 2), Saint-Saëns (No. 3 in B minor), Sibelius, Spohr (No. 8 in A minor, Opus 47, “Gesangsszene”) Stravinsky, Tchaikovsky, Vieuxtemps (Opus 31 or 37), Wieniawski (No. 1 or No. 2)

 

VIOLA B

Preliminaries: audition demo recording (video)

  • J.S. Bach: Two contrasting movements from a suite or partita, or Adagio and Fugue from a solo sonata;
  • A movement from a solo suite, concert study (Étude de concert) or caprice (19th or 20th century);
  • A first movement from a classical concerto different than that being played in the Finals round.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • One of the following:
    • Schumann: Maerchenbilder, Op. 113
    • Brahms: Sonata Opus 120, Nos. 1 or 2 (arr. for viola and piano)
    • Bruch: Romance for viola and orchestra in F major, Op. 85 (arr. for viola and piano)
    • Paganini: Sonata per la Grand Viola e Orchestra, Op. 35 (arr. for viola and piano)
    • Shostakovich: Sonata for viola and piano, Op. 147
    • or equivalent subject to approval by the Competition committee.
  • One work of the contestant’s choice from a century different than that of the work described in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals

A concerto or an orchestral piece chosen from the following repertoire: Bartók, Hindemith (Der Schwanendreher), Hoffmeister, Milhaud, Schnittke, Stamitz, Walton.

 

CELLO B

Preliminaries: audition demo recording (video)

  • J.S. Bach: two contrasting movements from a solo suite;
  • A concert study (Étude de concert) or a movement from a virtuosic solo work (19th or 20th Century);
  • A first movement from a classical concerto different than the one selected in the Finals round.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • A 20th-century sonata from one of the following composers: Shostakovich, Britten, Barber, Prokofiev, Poulenc, Debussy or equivalent subject to approval by the Competition committee;
  • A work of the contestant’s choice (19th-century);
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals
A concerto chosen from the following repertoire: Shostakovich (Nos. 1 or 2), Dvořák, Elgar, Haydn (No. 1 in D major or No. 2 in C major), Lalo, Prokofiev (Symphonie concertante, Opus 125), Saint-Saëns, Schumann, Tchaikovsky (Variations on a Rococo Theme), Walton.

 

DOUBLE-BASS B

Preliminaries: audition demo recording (video)

  • J.S. Bach: a movement from any cello suite;
  • Bottesini: any piece for double bass and piano (except for Concerto No. 1 in F-sharp minor, Concerto No. 2 in B minor, or Allegro di Concerto “alla Mendelssohn”);
  • First movement from one of the following (may not be same concerto played in the Finals round):
    • Vanhal: Concerto in D major(cadenza by Heinz Karl Gruber)
    • Hoffmeister: Concerto in D major
    • Sperger: Concerto in D major No. 15
    • Sperger: Sonata in B minor (T36)
    • Sperger: Sonata in D major (T40)

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • One of the following works:
    • Glière: Four pieces
    • Hindemith: Sonata
    • Misek: Sonata No. 2 in E minor or Sonata No. 3 in F major
    • Montag: Sonata in E minor
    • or equivalent subject to approval by the Competition committtee
  • One work of the contestant’s choice contrasting with the one selected in item 1 of the Semifinals;
  • A compulsory Canadian work: commissioned work to composer Éric Champagne from OSM Manulife Competition (duration is 5 to 7 minutes). The score will be available in August 2016 through the Canadian Music Centre Québec (requests should be addressed to atelier@centremusique.ca).

Finals

A concerto chosen from the following repertoire: Bottesini (Concerto No. 1 in F# minor or No. 2 in B minor), Dittersdorf (Concerto in E major, cadenza from Heinz Karl Gruber), Koussevitzky (Concerto in F # minor), Proto (Carmen Fantasy), Sperger (Concerto in D major No. 15), Tubin (Concerto for Double-Bass), Vanhal (Concerto in D major, cadenza from Heinz Karl Gruber)

 

ORGAN

Preliminaries: audition demo recording (video and audio)

  • J.S. Bach: two contrasting movements from one of the following Trio Sonatas
    • BWV 525 in E-flat major
    • BWV 528 in E minor
    • BWV 529 in C major
  • Choice of one of the following works
    • Vierne: Adagio from Symphony No. 3, Opus 28
    • Widor: Andante sostenuto from Symphonie Gothique, Opus 70
  • Alain: choice of one of the following works
    • Litanies
    • Intermezzo
    • Deuxième Fantaisie

Semifinals (minimum 30 minutes / maximum 40 minutes)

  • J.S. Bach: choice of one of the following great diptychs
    • Fantasia and Fugue in C minor, BWV 537
    • Toccata and Fugue in D minor, “Dorian”, BWV 538
    • Fantasia and Fugue in G minor, BWV 542
    • Prelude and Fugue in A minor, BWV 543
  • César Franck: choice of one of the following works
    • Prelude, Fugue and Variation, Opus 18
    • “Pièce héroïque”, from Trois pièces pour grand orgue
    • Choral No. 3 in A minor, FWV 40
  • Duruflé: Scherzo, Opus 2
  • Messiaen: “Transports de Joie”, from L’Ascension
  • A compulsory Canadian work:
    Raymond Daveluy: Épilogue sur ‘’Nun danket’’ et ‘’Ballerma’’. Please order the score with publisher Opus II at opustwo@on.aibn.com.

Finals

  • A 5-to-7-minute excerpt from one of the following works of the candidate’s choice, played with piano accompaniment. The excerpt to be performed will be determined by the jury and announced to semifinalists no later than November 22, 2016*:
    • BARBER: Toccata Festiva, Op. 36
    • COPLAND: Symphony for Organ and Orchestra
    • DUPRÉ: Organ Concerto in E minor
    • DUPRÉ: Symphony in G minor
    • ESCAICH: Organ Concerto No. 1
    • ESCAICH: Organ Concerto No. 2
    • HÉTU: Organ Concerto, Op. 68
    • POULENC: Organ Concerto in G minor
  • Two works for solo organ meeting these criteria:
    • Choice of a work from between 1850 and 1915
    • Choice of a work from between 1915 and today

The works must present contrasting esthetics and be accepted beforehand by the jury (total duration for the two works of the contestant’s choice: minimum 25 minutes / maximum 30 minutes).

*The OSM Manulife Grand Prize winner will be invited to perform with Orchestre symphonique de Montréal on February 22, 2017 under conductor Vasily Petrenko at Maison symphonique de Montréal. If the winner is an organist, the work to be performed in this concert is that from which an excerpt is being presented in the final round. At the latest one month before this concert, the winner will be required to perform the organ part of the complete work in front of members of the Competition committee, in order to confirm his or her participation.

Facts

  • Created in 1940
  • National competition since 1963
  • All the instruments of the orchestra, as well as voice, are featured on a rotating basis over a three-year cycle.
    • 2013 : strings and harp
    • 2014 : woodwinds, brass and voice
    • 2015 : piano and percussion
    • 2016 : strings and organ
  • The OSM Manulife Competition is one of the only Canadian competition to offer four categories of prizes :
    • cash prizes
    • scholarships, offering tuition and accommodation at Canada’s leading summer academies
    • a promotional recording
    • concert opportunities all around Canada, notably the privilege of playing with the Orchestre symphonique de Montréal
  • Effective springboard for young Canadian artists who wish to enter international competitions. Among its 300 past winners, illustrious alumni include:
    • Jan Lisiecki (piano-2009), just signed a recording contract with Deutsche Grammophon for five CDs
    • Andrew Wan (violin-2007), Current concertmaster of the OSM
    • James Ehnes (violin-1992)
    • Karina Gauvin (voice -1987) / Soprano
    • Louis Lortie (piano-1972)
    • Angela Hewitt (piano-1969)
    • André Laplante (piano-1968)
    • Janina Fialkowska (piano-1967)
    • Joseph Rouleau (voice -1949) / Bass
    • Léopold Simoneau (voice -1944) / Tenor
  • Past jury members include :
    • Kent Nagano, OSM musical director and conductor since 2006
    • Charles Dutoit, OSM musical director and conductor (1977-2002)
    • Salvatore Accardo, Violonist
    • Jean-Efflam Bavouzet, Concert pianist
    • Michel Béroff, Pianist
    • Earl Blackburn, Senior Vice President (Opus 3 Artists)
    • Jean-Pierre Brossmann, General Manager of the Théâtre du Châtelet (1998 to 2006)
    • Grace Bumbry, Soprano
    • Xavier de Maistre, Concert Harpist
    • Alan Fletcher, President and CEO of the Aspen Music Festival and School
    • Henry Fogel, President of the Chicago Symphony Orchestra (1985-2003)
    • Lawrence FosterConductor and Music Director of the Opéra et Orchestre National de Montpellier Languedoc-Roussillon.
    • Ida Haendel, Violonist
    • Charles Hamlen, Chairman of IMG
    • Welz Kauffman, President and Chief Executive Officer of the Ravinia Festival in Chicago
    • Mr. Jeffrey Khaner, Principal Flute of The Philadelphia Orchestra
    • Ralph Henry Kirshbaum, Cellist
    • André Laplante, Pianist
    • Sid McLauchlan, Producer for Deutsche Grammophon
    • Mervon Mehta, Executive director of the Performing Arts division, Royal Conservatory of Toronto
    • Matthias Naske, Artistic Director of the Wiener Konzerthaus
    • Benjamin Pasternak, Pianist, Peabody Institure, John Hopkins University
    • Régis Pasquier, Violinist
    • Françoise Pollet, Soprano
    • Renata Scotto, Soprano
    • Barry Shiffman, Director of Music Programs at the Banff Centre and Associate Dean of the Glenn Gould School of the Royal Conservatory of Music
    • Bramwell Tovey, Music Director of the Vancouver Symphony Orchestra
    • Tsuyoshi Tsutsumi, cellist
    • Matías Tarnopolsky, Director of Administration and Programming of the Cal Performances, University of California, Berkeley.

RULES

2017 Edition

November 21 to 25, 2017

WOODWINDS, BRASS & VOICE

*The OSM Manulife Competition reserves the right to change the text of the rules as it deems fit and without warning.

A. GENERAL CONDITIONS

  • The Competition is open to all Canadian citizens or permanent Canadian residents.
  • The OSM Manulife Competition is not open to former winners of an OSM Manulife (formerly known as OSM Standard Life) Grand Prize.
  • By signing the application form, the contestant accepts all the conditions of the Competition as well as the decisions of the Committee and the jury, which are final and without appeal.
  • Failure to comply with any rule of the Competition may result in the candidate’s disqualification, without right of appeal.

B. APPLICATION

Attention: application deadline has been moved up

The online application form along with supporting documents must be sent to the OSM no later than May 12, 2017. No incomplete file will be considered.

Besides the application form, the file must include:

  • A non-refundable registration fee of one hundred and sixty Canadian dollars ($160 CAD) paid by credit card (please follow the procedure on the registration form);
  • The video recording for the preliminary round;
  • The complete list of the repertoire to be performed for all three rounds of the Competition, with timings (follow the model supplied on the registration form);
  • A résumé (studies, teachers, diplomas, awards, professional experience);
  • A high-resolution headshot (minimum 300 DPI), approximately 15 cm x 20 cm, JPEG format. Photos taken with cellphones or webcams are not accepted.

Recording for the preliminary round:

  • A high-quality video of the preliminary round, filmed with a single camera (please follow the procedure on the registration form). It is acceptable to record the different works required in separate takes, but the recording of each work must be done without editing. The quality of the recording submitted may influence the decision of the preliminary jury. It is recommended that the candidate use the finest human and technical resources available so as to submit a high-quality sound recording. No recording with orchestra accompaniment will be accepted.

C. ROUNDS

  • The Competition is divided into three rounds: preliminaries, semifinals and finals. The candidate may not present the same work in two different rounds.
  • The semifinal and final rounds are open to the public.
  • The order of appearance of candidates who advance to the semifinals and/or finals will be determined by the drawing of lots.
  • Repeats in a work are left to the discretion of the candidate, who must nevertheless take these into account in working out the timing of the program.
  • Candidate may determine the sequence of their program for the semifinals, and must advise the Competition Committee of that no later than 10 working days before the performance.
  • Candidates must consider their performance for the semifinal as a recital or a concert and build their program in such a way as to highlight their artistic and technical merits. They should present propose works of different periods or aesthetics, as mentioned in the repertoire requirements. In making its decision, the jury will take into account the balanced construction of the programs.
  • All equivalent works must be submitted to and approved by the Competition Committee.
  • Memorization: Two works must be performed from memory in the semifinal round. Works in the final round must all be performed from memory.
  • The candidate may leave the stage only once during the semifinal, while strictly respecting the maximum duration allotted to that round.
  • Performance of a piece may be interrupted at the discretion of the jury.
  • Semifinalists must provide the jury with bound copies of each of their scores before the rounds, excluding the required Canadian work. Four (4) copies are required for the semifinals and six (6) copies for the finals. Scores must be submitted in the order of performance of the works and need to be presented in a binder. Staples or paper clips will not be accepted.
  • The winner of the OSM Manulife Grand Prize will be invited as a soloist with the Orchestre symphonique de Montréal on January 10, 2018, at Maison symphonique de Montréal. The repertoire performed in concert will be determined by the OSM in collaboration with the winner.

D. SURRENDER OF RIGHTS

  • Candidates are required to surrender to the OSM Manulife Competition all recording, broadcasting and distribution rights of any kind pertaining to their performance during the Competition together with all artists’ rights, for a period of fifty years from the date of the performance.
  • By completing the official application form, candidates agree to release all rights regarding the future use of recordings of their performances during the Competition.

E. PROMOTION

  • Candidates authorize the Orchestra to use their name and photo to make such announcements, advertisements and promotions as it may deem appropriate. All materials shall be free of copyright.
  • Candidates agree to allocate their time following performances to meet with the sponsors, partners and managers of the Competition that the Orchestra deems appropriate.
  • Candidates will grant interviews to media outlets selected by the Orchestra to promote the concert. These media outlets may be part of the print, radio, television or electronic press. Interviews may take place by telephone in the weeks leading up to the competition, in person during the candidate’s stay in Montreal, or following the Competition.
  • The candidate agrees to be briefly photographed or to participate in a short video clip filmed by the Orchestra’s public-relations team before or after the performance.
  • Candidates agree to provide a short verbal or written testimony of their experience with the Competition and/or Maison symphonique de Montréal after the Competition.
  • These photos, video clips, interviews or testimonies may be broadcast by the Orchestra on its various communications platforms (website, social networks, newsletter, promotional kits, and concert programs).

F. OFFICIAL PIANISTS

  • Candidates who so desire may be accompanied by an official pianist of the OSM Manulife Competition.
  • Each pianist assigned by the Competition will provide two (2) hours of rehearsal to each semifinalist, as well as his or her services for the performance in front of the jury. If the candidate reaches the finals, the official accompanist will provide two (2) additional hours of rehearsal to the finalist, as well as his or her services for the performance in front of the jury.
  • The choice and assignation of the official pianist are made by the Competition. An official pianist may not accompany a candidate on a private basis.
  • Any extra rehearsal time is at the candidate’s expense.
  • Candidates are free to come with their own accompanist, at their own expense.

G. HOUSING

  • The OSM Volunteer Committee offers candidates who live outside of Montreal the possibility of being billeted with a family, if the request is made at the time of registration. Housing is not offered to the candidate’s entourage.
  • Upon request, a candidate can obtain from the Competition a list of downtown hotels offering discounted rates. Candidates who choose this type of accommodation do so at their own expense. Accommodation costs for anyone accompanying a semifinalist will not be covered by the Competition.

H. COMMITMENT OF THE CANDIDATE

  • The candidate agrees to be free from all professional and academic activities other than those related to the Competition, throughout said Competition, from November 21 to November 25, 2017 inclusively.
  • Candidates must be present for the launch of the Competition, on November 21, as well as for the announcement of the finalists in their category and for the Prize Awards Ceremony on November 25, 2017.
  • Semi-formal dress is required for all official events of the Competition as well as for all performances in front of an audience.
  • For the entire duration of the Competition, direct or indirect contact with members of the jury is prohibited.
  • The winner of the OSM Manulife Grand Prize or of a first prize agrees to mention the said prize in all promotional material (biography, website, etc.), and to ensure that the said prize is mentioned in all promotional materials (concert programs, website, liner notes, etc.) of eventual distributors and producers for a period of five (5) years from the awarding of the prize.

I. COMPETITION AUTHORITIES

  • The Competition Committee reserves the right to cancel a category should the number of contestants be deemed insufficient.
  • The jury reserves the right to withhold any or all of the prizes.
  • The choice of the OSM Manulife Grand Prize Winner will be made by the jury, whose decision is final and without appeal.

MENTORS

For several years, close to thirthy Orchestra musicians have generously accepted to serve as mentors to the young contestants competing in the semifinals and finals. This allows young candidates to benefit from the support and advice of professional musicians, an initiative which further adds to the enriching and formative experience that is the OSM Standard Life Competition.

 

List of the  2010 to 2015 editions mentors

Pierre Beaudry, Principal bass-trombone

Marc Béliveau, Violin

Denis Bluteau, Associate principal flute

Anna Burden, Associate cello

Russell De Vuyst, Associate trumpet

Serge Desgagnés, Principal percussion

Marianne Dugal, Second associate concertmaster

Michael Dumouchel, 2nd clarinet and E-flat clarinet

Andrew Dunsmore, Percussion (2011-2012 Season)

Sofia Gentile, Viola

Dina Gilbert, OSM assistant conductor

Esther Gonthier, Rehearsal-pianist of the OSM

Luis Grinhauz, Assistant concertmaster

Neal Gripp, Principal violist

Olga Gross, keyboard

Mathieu Harel, associate bassoon

Amy Horvey, trumpet

Austin Howle, principal tuba

Timothy Hutchins, Principal flute

Sylvie Lambert, Cello

Jacques Lavallée, Associate-timpani and percussionist (1990-2011)

Vivian Lee, Second trombone

Stéphane Lévesque, Principal bassoon

Alison Mah-Poy, Violin

Andrei Malashenko, Principal timpani

Paul Merkelo, Principal trumpet

Dennis Miller, Principal tuba (1989-2014)

André Moisan, Principal saxophone and bass-clarinet

Sylvain Murray, Cello

Pierre-Vincent Plante, Principal english horn

Natalie Racine, Viola

Alexander Reid, Principal second violin

Richard Roberts, Concertmaster

Hugues Tremblay, percussion

Andrew Wan, Concertmaster

Ali Kian Yazdanfar, Principal bass

Alexa Zirbel, 2nd oboe

John Zirbel, Principal horn