Rounds and Repertory

PERFORMANCE ROUNDS.
COMPETITION REPERTORY. 

Preliminary, Semifinal (2 recitals), Final

I. Preliminary Recital Round


1. Solo choice by contestant, entire work or movement(s)
2. Concerto, all movements, selected from the following:

WOLFGANG AMADEUS MOZART
Any concerto, except Köchel 37, 39, 40, 41
LUDWIG VAN BEETHOVEN
Concerto No. 1 in C major, Opus 15
Concerto No. 2 in B–flat major, Opus 19
Concerto No. 3 in C minor, Opus 37
FELIX MENDELSSOHN
Concerto No. 1 in G minor, Opus 25
Concerto No. 2 in D minor, Opus 40
ROBERT SCHUMANN
Concerto in A minor, Opus 54
CAMILLE SAINT-SAËNS
Concerto No. 2 in G minor, Opus 22
 
 
 

MAURICE RAVEL
Concerto in G major

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Preliminary, semifinal, and final round programs must be by memory. The same concerto, and all its movements, is required for the video recording, semifinal recital, and final concerto concert. When preparing the video recording, please consult the Application page for helpful hints and requirements.

After submitting the application, the contestant may not change the concerto. All movements will be performed by all pianists during the festival.


II. Semifinal Recitals Round

  • This non-elimination round consists of two recitals: Solo and Collaborative.
  • One, or more, Classical era works must be performed during the competition. One could be the concerto.
  • Recitals will not be stopped if they go over-time; but the judges will note lack of professionalism.
The solo program order is planned by the pianist.
1. Solo or solos, same or different from the video,
entire work or movement(s)
2. Any nocturne by FRÉDÉRIC CHOPIN

3. North American composition first performed
and/or published after 1950, entire work or movement(s)
4. Optional composition by JOHANN SEBASTIAN BACH

Pianists wishing to compete for a prize for the Best Performance of a Work by JOHANN SEBASTIAN BACH may select a Prelude and Fugue from the Well-Tempered Clavier, a Toccata, Chromatic Fantasy and Fugue, or movement(s) from a Suite or Partita.

The Solo Recital can last up to 45-minutes. The following timings will be helpful in program planning.
1. Include brief comments (a couple of minutes) about why you chose your choice solo
2. Devote approximatley three minutes for speaking about and playing excerpts from the North American work. 
3. Staging: consider approximately three minutes for entrances, seat adjustments, exits, and bows. 

The collaborative program must be in this order:
1. Solo different from that in the Solo Semifinal Recital, entire work or movement(s)
2. Violin duo or cello duo selected from the list below 
3. Concerto, first movement

 
 
Violin and Piano
WOLFGANG AMADEUS MOZART
Sonata in A major, Köchel 305, any movement,
no repeats
LUDWIG VAN BEETHOVEN
Sonata in D major, Opus 12/1, first or second movement, no repeats
Sonata in A minor, Opus 23, first movement,
no repeats
Sonata in C minor, Opus 30/2, first movement,
no repeats
JOHANNES BRAHMS
Sonata in A major, Opus 100, first movement

Cello and Piano
LUDWIG VAN BEETHOVEN
Twelve Variations on Handel’s Judas Maccabeus,
WoO 45
Seven Variations on “Bei Männern, welche Liebe fühlen”from Mozart’s Magic Flute, WoO 46
ROBERT SCHUMANN
Fantasiestücke, Opus 73, all movements, with repeats
JOHANNES BRAHMS
Sonata in E minor, Opus 38, first movement, no repeats
PianoArts provides all collaborative musicians.

The Collaborative Recital can last up to 45-minutes. The following timings will be helpful while program planning. 
1. The concerto’s
introduction will be approximately eight measures.
2. Up to ten minutes should be devoted
to speaking and playing excerpts
from the concerto.
3. Staging: consider approximately four minutes for entrances, seat adjustments, handling scores, exits, and bows.

 


III. Final Round – Concerto Concert

Concertos, all movements, performed by three finalists with Milwaukee Symphony Orchestra.
Except for the concerto, changes in repertory must be approved no later than April 5 by contacting the PianoArts office at 414-962-3055 or Info@PianoArts.org.