Participate

Participate

SEASON PARTNER

A WORD FROM THE PRESIDENT

Dear friends of the OSM Manulife Competition,

To accept to preside over the destiny of the OSM Manulife Competition is to find oneself at the center of a very important musical and pedagogical activity in Canada. It is first of all impressive to go over the list of winners and to discover, year after year, the who’s who of Canadian music. All these musicians who have now achieved great careers were once young, anxious, nervous, but their musicality, their motivation, their work and also a boost from the Competition, allowed their talent to flourish.

When we look more closely at the logistics of the Competition, we quickly recognize the ingredients of its success: attentive and competent musicians and judges, seasoned and dedicated professionals, enthusiastic external partners, as well as welcoming and involved volunteers. It’s on such solid, well grounded bases that we will continue to develop our Competition, in order to make it more attractive to young Canadian musicians and increase its international reputation.

I wish all of us an extraordinary 2015 competition!

Pierre Goulet

Sincerely, Pierre A. Goulet
President, OSM Manulife Competition

2016 Edition
November 22 to 26, 2016
ORGAN & STRING

CATEGORIES
Organ: contestants 32 years and under on December 1, 2016

Strings class B: contestants 17 years and under on December 1, 2016

Strings class A: contestants 18 to 25 years on December 1, 2016

REPERTOIRE
IMPORTANT :

  • The Competition is divided into three rounds: preliminary, semifinal and final. A candidate may not present the same work at two different rounds.
  • We ask candidates to focus their attention on the composition and balance of their program, as it should highlight their artistic and technical merits as well as present works from different periods or aesthetics.
  • Excerpts of works, as established through standard performance practice (e.g., movements), are allowed. We recommend that any proposed excerpts be submitted to the OSM Manulife Competition Committee for approval.
  • Please note that the quality of the video recording may influence the jury’s decision. For the recording to be of the highest possible quality, we recommend that it be prepared with the best human and technical resources available. No recording with orchestra accompaniment will be accepted.

Information of interest for organists:
Organ candidates can consult the list of organ stops of the Église Saint-Jean-Baptiste instrument and those of the Grand-Orgue-Pierre-Béique here:
http://www.musiqueorguequebec.ca/orgues/quebec/sjbaptistem.html
http://eglisestjeanbaptiste.com/orgues.php
http://www.osm.ca/en/discover-osm/grand-orgue-pierre-beique

  1. Memories available for the Grand-Orgue-Pierre-Béique: semifinalists will have access to five levels of memory, consisting of 10 memories each.

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

 

VIOLIN A

Preliminaries: audition demo recording (video)

  1. 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;
  2. Paganini: one Caprice of the contestant’s choice;
  3. 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)

  1. 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;
  2. A work of the contestant’s choice from a different century than that of the sonata selected in item 1 of the Semifinals;
  3. 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)

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

 

Semifinals (minimum 30 minutes / maximum 40 minutes)

  1. 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.
  2. A work of the contestant’s choice from a century different than that of the work described in item 1 of the Semifinals;
  3. 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

  1. 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)
  1. J.S. Bach: two contrasting movements from a solo cello suite;
  2. A concert study (Étude de concert) or a movement from a virtuosic solo work (19th or 20th century);
  3. A first movement from a classical concerto different than that selected in the Final rounds.

Semifinals (minimum 30 minutes / maximum 40 minutes)

  1. 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;
  2. One work of the contestant’s choice (19th century);
  3. 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)

1. J.S. Bach: two contrasting movements from any solo cello suite

2. 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”)

3. 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)

1. 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.

2. One work of the contestant’s choice contrasting with the selected in item 1 of the Semifinals;

3. 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)

  1. 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;
  2. A work of the contestant’s choice from a different century than that of the sonata performed in item 1 of the Semifinals;
  3. 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)

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

 

Semifinals (minimum 30 minutes / maximum 40 minutes)

1. 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.

2. One work of the contestant’s choice from a century different than that of the work described in item 1 of the Semifinals;

3. 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)

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

 

Semifinals (minimum 30 minutes / maximum 40 minutes)

  1. 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;
  2. A work of the contestant’s choice (19th-century);
  3. 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)

1. J.S. Bach: a movement from any cello suite;

2. 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”);

3. 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)

1. 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

2. One work of the contestant’s choice contrasting with the one selected in item 1 of the Semifinals;

3. 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)

  1. 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
  1. Choice of one of the following works
  • Vierne: Adagio from Symphony No. 3, Opus 28
  • Widor: Andante sostenuto from Symphonie Gothique, Opus 70
  1. Alain: choice of one of the following works
  • Litanies
  • Intermezzo
  • Deuxième Fantaisie

 

Semifinals (minimum 30 minutes / maximum 40 minutes)

  1. 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
  1. 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
  1. Duruflé: Scherzo, Opus 2
  2. Messiaen: “Transports de Joie”, from L’Ascension
  3. 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

  1. 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
  1. 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.

2016 Edition – November 22 to 26, 2016
ORGAN & STRINGS
 

*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 contestant must be a Canadian citizen or permanent Canadian resident.
  • 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 jury, which are final and without appeal.
  • Failure to comply with the rules or conditions of participation may result in the candidate’s disqualification, without right of appeal.

B. APPLICATION

Notice: application deadline has been advanced.

  • Application documents must be sent to the OSM no later than May 13, 2016. An incomplete registration will not be considered.

The following must be included with the application form:

  • A non-refundable registration fee of one hundred and sixty Canadian dollars ($160 CAD) paid by credit card (please follow the procedure included in the registration form);
  • Complete typescript list of works (including the titles of movements) to be performed for all three rounds of the competition, with timings;
  • A résumé (studies, teachers, diplomas, awards, professional experience);
  • A high resolution headshot (minimum 300 DPI), approximately 15 cm X 20 cm, .JPG format. Photos taken with cellphones or webcams are not accepted;
  • Applicants need not submit a proof of citizenship or residency when submitting their documents, however contestants selected for the semifinal rounds will be requested to do so.

Preliminary round recording in Strings:

  • The preliminary round video recording, filmed with a single camera (please follow the procedure included in the registration form). The required works may be recorded in distinct shots, however the recording of each work must be done without splicing or editing. Please note that the quality of the recording may influence the jury. In order to submit a recording of good quality, we recommend that the candidates use the highest level of human and technical resources available. No recording with orchestral accompaniment will be accepted.

Preliminary round recording in Organ:

  • The preliminary round audio recording and the video recording, filmed with a single camera (please follow the procedure included in the registration form). The required works may be recorded in distinct shots, however the recording must be done without splicing or editing. Please note that the quality of the recording may influence the jury. In order to submit a recording of good quality, we recommend that the candidates use the highest level of human and technical resources available. No recording with orchestral accompaniment will be accepted.

C. ROUNDS

The Competition is divided in three rounds: preliminaries, semifinals and finals. The candidate must present a different program for each round.

  • The semifinal and final rounds are open to the public.
  • Determined by drawing lots, the contestant selected for the semifinal will be given an order of appearance also valid for the final round.
  • Repeats are left to the choice of the candidate, but the candidate must take these into account in working out the timing of his program.
  • The candidate may determine the order of his program for the semifinal. He must inform the Competition committee at least 24 hours before the performance.
  • The candidate must consider his performance for the semifinal as a recital or a concert and build his program to that effect. It should highlight his artistic and technical merits and propose works from 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.
  • Equivalent works or works of the contestant’s selection must be submitted by the candidate and approved by the Competition committee.
  • Memorization
  • Strings: Two works must be performed from memory in the semifinal. The work of the final round must be performed from memory.
  • Organ: memorization is suggested for the semifinal and final, however it is not mandatory.
  • The candidate may leave the stage only once during the semifinal, while strictly respecting the maximum duration allotted to that round.
  • The candidate may be interrupted at the discretion of the jury.
  • The candidate must provide bound copies of his program for the jury before the semifinal and final auditions, except for the imposed Canadian work. Three (3) copies are required for the semifinals and five (5) copies for the finals. The copies must be submitted in the order of performance of the works and need to be presented in a binder. No staples nor paper clips will be accepted.
  • 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 a string player, the work to be performed is the concerto presented in the final round. 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.

 

D. CESSION OF RIGHTS

  • The candidate must forfeit all recording, broadcasting and distribution rights of any kind pertaining to his performances during the Competition to the OSM Manulife Competition, together with all artists’ rights for a period of fifty years from the date of the performance.
  • By completing the official application form, the candidate agrees to release all rights regarding the future use of recordings of his performances during the Competition.

 

E. PROMOTION 

  • The candidate authorizes the Orchestra to use his name and photo to make such announcements, advertisements and promotions it may deem appropriate. All materials shall be free of copyright.
  • The candidate agrees to allocate his time following the performance to meet with the sponsors, partners and managers of the Competition that the Orchestra deems appropriate.
  • The candidate will grant interviews to media selected by the Orchestra to promote the concert. These media may be part of the written, radio, televised or electronic press. Interviews might take place by telephone in the weeks prior 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 communications team before or after the performance.
  • The candidate agrees to provide a short verbal or written testimony of his experience with the Competition 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

  • The OSM Manulife Competition will provide the services of an official accompanist to each semifinalist who so desires.
  • For contestants in Strings: each pianist assigned by the Competition will provide two (2) hours of rehearsal to each semifinalist for the semifinal round, as well as his 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 services for the performance in front of the jury.
  • For contestants in Organ: each pianist assigned by the Competition will provide one (1) hour of rehearsal to each finalist for the final round, as well as his services for the performance in front of the jury.
  • The choice and assignation of the official pianist is done by the Competition. An official pianist may not accompany a semifinalist on a private basis.
  • Any extra rehearsal time is at the semifinalist’s expense.
  • Any contestant wishing to come with his own accompanist may do so at his own expense.

 

G. HOUSING

  • The OSM Volunteer Committee offers candidates who live outside of Montreal the possibility of being billeted in 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 discount hotels located downtown. A semifinalist may stay in a hotel at his own expense. The Competition will not cover costs related to travel and accommodation, or other expenses, for anyone accompanying a semifinalist.

 

H. UNDERTAKING OF THE CANDIDATE

  • The candidate agrees to be free from all professional and academic activities other than those related to the competition during said Competition – from November 22 until November 27, 2016 inclusively.
  • The candidate must be present for the launch of the Competition, on November 22, as well as for the announcement of the finalists of his category and the Prize Awarding Ceremony, on November 26, 2016. A final activity between the candidates, the mentors, the jury members and the competition staff is also set on Sunday, November 27, 2016.
  • 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 whole duration of the Competition, the candidate will refrain from having direct or indirect contact with the members of the jury, except for the semifinalist not moving on to the finals.
  • The winner of the OSM Manulife Grand Prize or a first prize agrees to mention the said prize in all his promotional material (biography, website, etc.), and agrees to ensure that the said prize is mentioned in all promotional materials (programs, website, footnotes of recording, etc.) of eventual producers, distributors and broadcasters, for a period of five years from the awarding of the prize.

 

I. COMPETITION AUTHORITIES

  • The Competition Committee reserves the right to cancel a class or category should there be an insufficient number of contestants.
  • 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