Welcome to SYAMFA Rules and Registration

It is important to read all the instructions as well as the rules specific to your instrument. Forms that do not comply with the rules of entry, class and repertoire cannot be accepted.

STUDENTS: SYAMFA uses an on-line registration system to help you create and manage your forms.

TEACHERS: The teacher form must be completed and submitted online and Fee payment made via PayPal. Schedule information will not be released to your students until your form and fee are received by the Registrar. Students please be sure your teacher is aware of this.

We look forward to seeing you at this year’s Festival! – SYAMFA

SYAMFA Registrar
(425) 373-9397
syamfa registrar

  • Any student in grades 5-12, and age 18 years and younger may enter. Placement in classes is determined by grade in school. Home school students through age 18 must enter in age-appropriate classes. Placement in classes is determined by grade in school. Post high school students are not eligible. Any entrant who falsifies information regarding his/her age will automatically be ineligible to participate in any SYAMFA Festival.
  • Questions concerning eligibility or age appropriate placement should be directed to the Music Advisory Panel at least one month prior to the application deadline and cannot be considered after the deadline. The Panel’s determination will be final.
  • A student should have studied with their current teacher for at least six months prior to the beginning of the Festival.

Participants receive no grades. All awards are made at the Adjudicators’ discretion only, and are final. Comments or questions regarding awards must be made in writing to the Music Advisory Panel.

Seals of Recognition are awarded to outstanding performers in all classes and will be mailed to the recipients’ teachers following the end of Festival.

Festival Medals are awarded only to those participants who meet the highest standards of performance in all their required classes. To be eligible, a student must be entered in both Competitive Concerto and Complete Program classes on the same instrument, receive Seals of Recognition in both, and be chosen to play in the Concerto Playoffs. Concerto winners of the previous year are eligible to perform in the playoffs to be considered for a Festival Medal. Adjudicators may present up to three medals but may choose to award none

TEACHERS must create an online account, complete and submit a Teacher Form, and pay the Teacher Fee.

TEACHERS ARE TO REMAIN ANONYMOUS from the ADJUDICATORS AT ALL TIMES.
Originated by the Founders, this practice is in place to avoid even the appearance of any impropriety.


STUDENTS must create an online account, complete and submit an entry form, and pay the class fees.


ACCOMPANISTS must create an online account if they wish their performance schedule emailed in early March.
Students: please be sure your accompanist is aware of this.

APPLICATION
SUBMITTAL

1.
Students and Teachers MUST READ the RULES of the relevant
division BEFORE beginning a class entry form. Each division has its own rules.
Failure to comply will result in the entry being placed on Hold.
2.

Each class must be entered on a separate entry form. Do Not combine classes on one entry form.

To be eligible, entries and fee payment must be submitted online.

REGARDING
ACCOMPANISTS

3.
Entrants must arrange for an accompanist BEFORE SUBMITTING the application.
Incomplete accompanist contact information will cause the entry to suspend.

NOTE: To avoid entry rejection or disqualification from honors, complete Accompanist rules must be viewed in the division requirements.
Student or Teacher must immediately notify us of any changes in accompanist — to avoid schedule conflicts.

TEACHER
RESPONSIBILITIES

4.
Teacher Registration: Teachers must create an online account in order to view
their students’ entries in progress and approve them before submittal. The Teacher Form must be completed and submitted online and Fee payment made. Students will not be scheduled if the teacher fee is not paid.
5.
Teacher Approval of Student Entry:
Before entry submittal is possible, TEACHER must view the student’s entry via their teacher account. Teachers MUST REVIEW all areas, including personal data fields. CHECK: correct age-appropriate class has been entered. CHECK: student and teacher personal data is correct. CHECK: listed repertoire is accurate. CHECK: accompanist is listed, if needed.If all is accurate, the teacher should tick the Approved box below the repertoire list.
After teacher has approved, Submit and Payment options will appear for the student login.Teachers are responsible for the accuracy of submitted student entries

APPLICATIONS
ON HOLD

6.

FAILURE TO COMPLY: If an entry is incomplete or fails to comply in any way, it will be suspended, and the teacher/student will be emailed by the Registrar or by the MAP, respectively.

The required correction must be provided within three (3) days of the notification or the entry is subject to rejection.

TEACHERS & STUDENTS – are responsible for regularly checking e-mail and phone numbers — given on the Entry Form. Please provide “easy to reach” contact data!

TO RECEIVE
A CLASS SLOT

To become active, from January 3 to February 1 submitted entries will be marked Received by the registrar in order of the submit date. Teacher and student will receive notification emails when entry is logged Received. Watch for those notifications!

Do Not inquire before February 1even if your entry still shows only submitted. We are an all-volunteer board and many also work full time jobs. We work as quickly as possible.

Step 1:
“RECEIVED”
7.
If all personal information fields are filled and accurate, required signatures and fee payment are complete, the Registrar will mark the entry with “Received” status.
Class-slot priority begins at this point, and not before. Entry will be held, class-slot priority delayed: if information is missing or inaccurate.
Step 2:
“ACCEPTED”
8.
Every Received entry is reviewed by the Music Advisory Panel (MAP).
If all class and repertoire requirements have been met (see Division Rules), entry will be “Accepted” and approved for a class time-slot as long as space allows.
Entry will be held, class-slot priority delayed: if class or period requirements are not met, title details are inadequate, program is grossly overtime, etc.

WAITLISTED ENTERIES

9.

Slots for each class are allocated before registration opens. If the slots are full when the registrar marks a form ‘received,’ the email notification will indicate the waitlisted status of the entry.

However, waitlisted entries nearly always receive a place in class. Un-used slots from other classes can be re-allocated to the higher census class often within 36 hours. In addition, withdrawals by other students create additional available time in the division. It is rare that a waitlisted entry cannot be accepted before the Festival begins.
Keep checking the status of the entry, and Keep Practicing!

SCHEDULING BEGINS

10.

On or about February 1st: RETURN to Registration. CHECK your entries.

The Music Advisory review of all entries will be complete, or nearly complete. Submitted entries should show either Received or Accepted status.

As long as the status shows Received, please be patient; do not make inquiries yet! With as many as 600 entries to review, it can take a few extra days to complete the time-intensive review process. We always work as quickly as we can.

IF entry status still shows Submitted on Feb 1st, CONTACT US IMMEDIATELY!!!

WITHDRAWALS

11.
If withdrawal of a participant or change of accompanist is necessary, please notify the Division Chair immediately. During Festival Week, please phone the Festival Desk immediately to alert us. NO REFUNDS are made after the application deadline.

SCHEDULE ANNOUNCEMENT

Email Broadcast: Performance Schedules will be announced no less than ten (10) days prior to the start of the Festival. Registered students, teachers and accompanists will receive an email with a link and instructions to access their personal schedules.

Students: please be sure your accompanist is aware and creates an online account.

These rules apply to every festival class.

NOTE:  EACH INSTRUMENT DIVISION has ADDITIONAL RULES which must ALSO be followed

Participants MUST STAY FOR THE ENTIRE CLASS including the oral adjudication of all students or will be disqualified from any honors. Only accompanists or teachers may enter or leave during a session.
CHANGING the performance order of students is NOT ALLOWED, except by a Board member in advance.
Failure to comply is grounds for disqualification.
NO schedule changes allowed after performance schedules are announced.
Entrants must check in at Registration each day, 15 minutes before their first class.

REPERTOIRE
RULES
ALL CLASSES
(all instruments)

Remember:
Classes
have additional
requirements
as well

See
Instrument Division
rules for details

1.
All music must be memorized unless an exception is specified.
2.
Repertoire used in one class may not be used in another, and may never again be used in the Festival.
3.

For fastest entry processing, LOCATE your music already in the Festival Database.

If a piece is not in the database, see required details below.

4.

If a piece is not in the database, ALL DETAILS BELOW must be provided.

  • Composer (first and last names)
  • Title
  • Key Signature
  • Catalog number (BWV, K., Hob, etc)
  • Movement number and Tempo marking for each
  • Exact timing of each separate movement
  • Collection (if any)
  • Period Classification
5.
Only Published Music of recognized classical repertoire may be used.
All questions (class, repertoire or eligibility) must be directed to the *Music Advisory Panel (not the division chair). Entering music which does not meet Festival standards will cause the entry to be suspended. Consult an appropriate Music Advisory Panel member well in advance. ( *Music Advisory Panel = MAP)
6.
PHOTOCOPIED / INTERNET-SOURCED MUSIC:
“Photocopied music” and “Music Printed from the Internet” ARE NOT ALLOWED in the Festival even if it is in the public domain. Scores must be published and professionally bound editions. Consult an appropriate Music Advisory Panel member for exceptions regarding Out of Print music.
7.
An original score must be provided to the adjudicator.
8.
IMPORTANT:
(Adjudicator request) Measure numbers must be marked in the left margin at each brace.
9.
Changes in music after the entry deadline will result in ineligibility for performance honors, including disqualification from competitive concerto.
10.

Performance must not exceed the class time limit. Overtime programs will be stopped.

Grossly overtime programs are not accepted. Contact the MAP for assistance.

11.
Omit optional repeats except when absolutely necessary. Observe Da Capos and essential repeats. Cuts are not allowed.

ALLOWED
NUMBER
of CLASSES

Each class is conducted by one adjudicator in masterclass style.

Students may enter up to three (3) classes, except as noted below:

  • Complete Program and Concerto on one instrument,
    plus an Ensemble Class, or a Solo Class on a different instrument.
  • Complete Program only, in two different instrument divisions (e.g. one Piano and one Woodwind).
  • Complete Program or Short Program plus two Ensemble or Solo Classes.
  • Beethoven Sonata class, plus one Ensemble or Solo class.
  • Two Solo Classes plus two Ensemble Classes.
  • Any three classes not including a Complete Program, Short Program, or Beethoven Sonata class.

REGARDING
ACCOMPANISTS

1.
Entrants MUST arrange for an accompanist BEFORE SUBMITTING the application.
Incomplete accompanist contact information will cause the entry to suspend.
To avoid losing your accompanist later, you must make a firm reservation before listing him/her.
Student/Teacher must immediately notify us of any changes in accompanist — to avoid schedule conflicts.
2.
Beginning in 2024: Competitive concerto pianists may not be accompanied by their teacher, nor by an immediate family member. Competitive concerto entrants, all instruments, may not be accompanied by an immediate family member. Similarly, no registered festival student may serve as accompanist for another. Non-competitive AO entrants are exempt from these rules. Accompanist performance limits remain unchanged.
3.

Accompanists are limited to a maximum of 24 performances if playing for students in more than one of these four groups: High String, Low String, Woodwind, Piano. There is no performance limit for accompanists playing only for a single instrument group.

Students/Parents make certain your accompanist is aware of this rule and is under the limit.

FINANACIAL AID

If Festival fees are a financial hardship, please contact a member of the Board of Directors at least one month prior to the application deadline. Financial aid for students is available.

WITHDRAWALS

If withdrawal of a participant or change of accompanist is necessary, please notify the Division Chair immediately. During Festival Week, please phone the Festival Desk immediately to alert us. NO REFUNDS are made after the application deadline.

CHAIR

Jane Miyamoto-Dell’Isola
425-373-9397
jmiyadell@syamfa.org

COMPETITIVE Concerto classes: For adjudication and ranking for participation in Concerto Playoffs.

ALL ENTRANCE and INDIVIDUAL CLASS RULES ARE STRICTLY APPLIED.

ADJUDICATION ONLY (AO) Concerto classes: Not for competition. For the experience of adjudication only. The letters “AO” follow these class numbers. ALL division rules apply unless noted.

Acceptance in this division cannot be granted unless the student has also registered for a
compliant Complete Program class in his/her instrument division. NO exceptions.

PERFORMANCE PROCEDURE

Participants MUST STAY FOR THE ENTIRE CLASS including the oral adjudication of all students, or will be disqualified from participation. Only accompanists or teachers may enter or leave during a session.
CHANGING the performance order of a concerto class is NOT ALLOWED, except by a Board member in advance. Failure to comply will result in disqualification.
NO changes allowed after performance schedules are announced.
1.
Entrants must check in at Registration each day, 15 minutes before their first class.
2.
Music should be opened to the proper page and given to the monitor as one rises to play.
3.
PICK UP your musicevauation form, and Certificate at the close of each class.
Forgotten items cannot be mailed.
4.
Cell phones and tablets must be OFF while in the performance room.
Flash photography is not permitted. Video and audio equipment, if discreetly used, may be acceptable subject to the approval of the adjudicator.
5.
Teachers, family members and guests are welcome to attend adjudicated classes, but must remain quiet and unobtrusive throughout the session. Verbal or non-verbal communication or coaching is not permitted.

DIVISION & CLASS
REQUIREMENTS

1.

PRE-REQUISITE for ALL concerto classes: To be accepted in any Concerto Division class, participants must also enter a Complete Program Class or equivalent, on the same instrument as the concerto, in his/her instrument division. NO exemptions.
Enter the complete program on a separate entry form.

All periods required of the Complete Program must be performed during the adjudication or the student will be disqualified and permitted to perform in the Concerto Class for evaluation only.

Pianists (grades 11-12 only): in lieu of a standard piano complete program, may fulfill this requirement using the Complete Program Paired Option or the Beethoven Sonata Class.
Both choices have very specific repertoire requirements. Review the Piano Division Rules very carefully to be certain both your required classes can be accepted.

Pianists (all grades) entering a Non-Competitive AO concerto class may fulfill this requirement with a Short Program. (See the very specific period requirements of the Short Program in the Piano Division Rules.)

2.

Each performer will play one or more contrasting movements of a concerto including the cadenza, or one of the standard compositions with orchestral accompaniment.

Multiple movement entries will perform just one movement in the concert.

3.
Music must be memorized unless the concerto is for two or more solo instruments.
For two-piano concerti: students must be prepared to play all tutti or provide a third keyboard. Entry must be made in the class appropriate to the older performer. Each student must submit a separate entry form.
Out of Print music is not allowed in any competitive concerto class.
4.
Omit optional repeats and orchestral tutti sections except when absolutely necessary. A cadenza may be composed if desired, or, for string soloists only, may have cuts to reduce length. Cuts are otherwise not allowed.
5.
Private tutoring or lessons with any SYAMFA adjudicator during Festival week is strictly prohibited and will disqualify the entrant from Concerto Playoffs.
6.
Orchestral Rental Information IS NO LONGER REQUIRED on the application.
Howeverif, after Concerto Playoffs are completed, it is discovered that rental music for the orchestra is Out of Print or is not available for rental within the U.S., the soloist will perform in the concert with a piano accompanist in place of the orchestra. In such cases, the soloist will be notified of the change within ten days after the end of the Festival.

REGARDING
ACCOMPANISTS

1.
Entrants MUST arrange for an accompanist BEFORE SUBMITTING the online entry. Incomplete accompanist contact details will cause the submitted entry to suspend.
To avoid losing your accompanist later, you must make a firm reservation before listing him/her.
Student or Teacher must immediately notify us of any changes in accompanist — to avoid schedule conflicts.
2.
Beginning in 2024: Competitive concerto pianists may not be accompanied by their teacher, nor by an immediate family member. Competitive concerto entrants, all instruments, may not be accompanied by an immediate family member. Similarly, no registered festival student may serve as accompanist for another. Non-competitive AO entrants are exempt from these rules. Accompanist performance limits remain unchanged.
3.

ACCOMPANISTS are limited to a maximum of 24 performances if playing for students in more than one of these four groups: High String, or Low String, or Woodwind, or Piano. There is no performance limit for accompanists playing only for a single instrument group.

Students/Parents make certain your accompanist is aware of this rule and is under the limit.

SELECTION for
PLAYOFFS

1.
Outstanding performers will be chosen by the adjudicators to perform in the Concerto Playoffs.
2.
The performance order in Playoffs is determined by committee and is completely random.
3.
In Playoffs, the adjudicators will determine which portions of the concerti will be performed. The allowable playing time will be determined by the total number of performers. Finalists making pre-determined cuts will be disqualified.
4.
Concerto Playoffs are held on Saturday. All finalists and their accompanists must be available to perform between 9:30 am and 4:45 pm.
JUNIOR COMPETITIVE
Instrument Class Grades Playing Time Fee
Piano 29 5-8 15 min $115
Violin/Viola 49 5-8 15 min $115
Cello/Bass 59 5-8 15 min $115
Flute 79 5-8 15 min $115
Reed 89 5-8 15 min $115
AO – JUNIOR ADJUDICATION ONLY
Instrument Class Grades Playing Time Fee
Piano 29AO 5-8 15 min $85
Violin/Viola 49AO 5-8 15 min $85
Cello/Bass 59AO 5-8 15 min $85
Flute 79AO 5-8 15 min $85
Reed 89AO 5-8 15 min $85
SENIOR COMPETITIVE
Instrument Class Grades Playing Time Fee
Piano 30 9-12 20 min $125
Violin/Viola 50 9-12 20 min $125
Cello/Bass 60 9-12 20 min $125
Flute 80 9-12 20 min $125
Reed 90 9-12 20 min $125
AO – SENIOR ADJUDICATION ONLY
Instrument Class Grades Playing Time Fee
Piano 30AO 9-12 20 min $90
Violin/Viola 50AO 9-12 20 min $90
Cello/Bass 60AO 9-12 20 min $90
Flute 80AO 9-12 20 min $90
Reed 90AO 9-12 20 min $90

PLAYOFF ELIGIBILITY

Competitive Concerto classes are for adjudication and ranking for participation in Playoffs. ALL SYAMFA RULES ARE STRICTLY APPLIED. Performers entered in Competitive Concerto Classes are eligible to be considered for Playoffs provided they have fulfilled all requirements of both their Complete Program and Concerto classes.

Festival Medal: Concerto winners of the previous year are not eligible to be winners in the current Festival, but may perform in Playoffs to be considered for a Festival Medal. Adjudicators may present up to three medals but may choose to award none.

Up to six concerto division winners will be announced immediately following the conclusion of Playoff Panel deliberations. Festival Medalists, if any, will be announced at the end of Playoffs. Medals will be awarded at that time. All finalists and their accompanists must be available to perform on Saturday from 9:30 am to 4:45 pm.

CONCERTO CONCERT

Winners to perform in the SYAMFA Concerto Concert will be chosen from the playoffs for demonstrated excellence.

Winners shall perform the same repertoire in the Concerto Concert as was performed in Concerto Playoffs. Multiple movement entries will perform just one movement in the concert.

Winners must be available to rehearse and perform with the orchestra. If the orchestral score and parts are Out of Print or cannot be acquired in a timely way, or the orchestra conductor determines that a winning concerto would require more rehearsal time than the orchestra’s schedule allows, the winning performer will be asked to perform with an accompanist at the Concerto Concert in place of the orchestra. Attendance at the dress rehearsal on the Friday evening preceding the concert is mandatory for all concert soloists.

CHAIR

Pamela Chang
206-522-6487
pam@pamchangpianostudio.com

PERFORMANCE PROCEDURE

Participants MUST STAY FOR THE ENTIRE CLASS including the oral adjudication of all students, or will be disqualified from honors.
Only accompanists or teachers may enter or leave during a session.
Changing the student performance order is Not allowed, except by a Board member in advance. Failure to comply is grounds for disqualification.
No schedule changes allowed after performance schedules are announced
1.
Performances must be confined to specified time limits and will be stopped if overtime.
Grossly overtime programs will not be accepted. Contact the MAP for assistance.
2.
Music should be opened to the proper page, stacked in performance order, and given to the monitor as the student rises to perform.
3.
PICK UP your musicevaluation form, and Certificate at the close of each class.
Forgotten items cannot be mailed.
4.
Cell phones and tablets must be OFF while in the performance room.
Flash photography is not permitted. Video and audio equipment, if discreetly used, may be acceptable subject to the approval of the adjudicator.
5.
Teachers, family members and guests are welcome to attend adjudicated classes, but must remain quiet and unobtrusive throughout the session. Verbal or non-verbal communication or coaching is not permitted.

REPERTOIRE
REQUIREMENTS
ALL PIANO
CLASSES

1.
Only original published music of recognized classical repertoire may be used.
No photocopied or Internet-sourced scores allowed. All questions: class, repertoire or eligibility rules, to the *Music Advisory Panel (not the division chair). Entering music which does not meet Festival standards will cause the entry to be delayed. Consult an appropriate *MAP member well in advance.
2.
All music must be memorized.
3.
No transcriptions or arrangements are allowed.
4.
Fugues must accompany Preludes in all periods.
5.
Sets of Variations must be performed in their entirety, without omissions.

PERIOD REQUIREMENTS:

  • Baroque: Fugue must accompany Prelude. Likewise, Minuet I & II and Bourrée I & II.
  • Classical: Grades 9-12, this must be a movement of a sonata including Schubert sonatas, a sonatina, a set of variations, Fantasia, or Rondo.
  • Either Romantic or Impressionist: Dohnanyi, Rachmaninoff, MacDowell, and all Scriabin Op. 48 and earlier, are to be considered Romantic.
  • 20th Century/Contemporary: Selections must truly reflect the 20th C/Con idiom.
    Scriabin after Op. 48 is to be considered 20th C/Contemporary.

To verify the correct period classification of a composer, check the Composer Classification List online.

If the composer does not appear on the list, contact a MAP member well in advance of the registration deadline. For repertoire already in our database, period classifications are predetermined and cannot be changed.

COMPLETE PROGRAM
(Piano)

Classes 1 – 4
by school grade

The Complete Program class is a pre-requisite for entrance in any competitive concerto class. It also satisfies the pre-requisite for the non-competitive Adjudication-Only(AO) concerto class. It may be entered as a stand-alone class, as is the most common practice.
1.
Participants will perform four (4) pieces, one each from the four (4) periods above, to demonstrate their understanding of a broad range of styles.
2.
ALL programs must include the Baroque, Classical and 20th C/Contemporary periods — and either the Romantic or Impressionist period. The four required pieces must be performed during the class.
COMPLETE PROGRAM
Class Grades Playing Time Fee
1 5-6 12 min $75
2 7-8 16 min $80
3 9-10 20 min $90
4 11-12 20 min $90

Paired Option

for Grades 11-12 with Competitive Concerto Only

Competitive Concerto entrants, Grade 11-12, may satisfy the Complete Program pre-requisite with the Paired option of just a three period program, one piece each from any three periods above, as long as the concerto is from a fourth (different) period.
Entrants will perform music from three periods in Class 4, and will fulfill the fourth period requirement in the Concerto Class.

Major Works Option

for Grades 11-12
NO Concerto

Grade 11-12 pianists may choose the Major Works option of just three (3) pieces; one each from any three periods. One of the three pieces must qualify as a major work. The program must be a minimum of 17 minutes in length. All three required periods must be performed during the class. To confirm your program meets the major work standard, please contact a member of the Music Advisory Panel before the registration deadline. This option DOES NOT SATISFY the prerequisite for any concerto class.

Beethoven Sonata

for Grades 11-12 (Piano)

For pianists Grades 11-12, this class is interchangeable with Class 4. Performers will perform a complete Beethoven Sonata, other than Op. 49, Nos. 1 & 2 and Op. 79.
If a concerto class is entered as well, the concerto CANNOT BE from the Classical period.

BEETHOVEN SONATA
Class Grades Playing Time Fee
4a 11-12 25 min $90

SHORT PROGRAM (Piano)

The Baroque and 20thC/Con periods are required in all short programs.
Students will perform three (3) pieces from the four stylistic periods above. All three required periods must be performed during the class. This class satisfies the complete program pre-requisite for an Adjudication-Only(AO) concerto of any period. It cannot be used with a competitive concerto class.

SHORT PROGRAM
Class Grades Playing Time Fee
5 5-6 10 min $70
6 7-8 14 min $75
7 9-10 16 min $80
8 11-12 16 min $80

SOLO CLASS (Piano)

1.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed. Exception: if just one piece is entered, and exceeds the time limit by less than 50 seconds, the entry will be allowed. The performance will be stopped at the time limit.
2.
Music may be from any of the four periods of music above.
3.

NO Transcriptions or Arrangements are allowed (transcription solo class is below).

4.

NO Jazz Idioms allowed (jazz solo class is below).

5.

Only recognized classical repertoire is allowed.

SOLO CLASS PIANO
Class Grades Playing Time Fee
9 5-6 7 min $65
10 7-8 9 min $70
11 9-10 12 min $75
12 11-12 12 min $75

SOLO CLASS
(Piano)
TRANSCRIPTIONS
ONLY

1.
Performers will play one piece transcribed for piano THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed. Regular classical repertoire cannot be included in this class. Transcriptions for piano, only.
2.
The name of the transcriber must be provided on the submitted entry form.
3.

Not all transcriptions will be accepted. Contact the Music Advisory Panel in advance for assistance

SOLO: TRANSCRIPTIONS (ONLY)
Class Grades Playing Time Fee
14 5-12 8 min $70

SOLO CLASS
(Piano)
JAZZ IDIOMS
ONLY

1.
Performers will play one piece of the jazz idiom THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed.
2.
Only published music is allowed. Improvisation is not allowed.
3.
NO Arrangements (an embellished or simplified version) or cuts are allowed.
Jazz idioms only. Regular classical repertoire cannot be included in this class.
4.
Not all compositions of jazz style will be accepted. Contact the Music Advisory Panel in advance for assistance.
5.

BE ADVISED, jazz style repertoire that may be eligible for this class may not be acceptable in other Festival classes. If your selection does not appear in the jazz repertoire database, it is recommended you contact the Music Advisory Panel to check acceptability.

SOLO: JAZZ IDIOMS (only)
Class Grades Playing Time Fee
13 5-12 8 min $70

ENSEMBLE
SECTION
(Piano)
Four Hand
or Two Piano

1.
EACH MEMBER MUST SUBMIT A SEPARATE, INDIVIDUAL ENTRY FORM.
The other participants’ name must appear on each individual’s form.
2.
Both performers must be registered Festival students.
3.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed.
4.
Music must be composed for the combination presented; a four-hand composition or a two piano composition.
5.
No transcriptions, arrangements, or cuts may be used.
6.

It is suggested, but not required, that the music be memorized.

FOUR HANDS or TWO PIANO
Class Grades Playing Time Fee
21 5-8 7 min $70
22 9-12 12 min $85

CO-CHAIRS

Emily Acri
(847) 477-2361
acriemilym@gmail.com
Violin/Viola

Erika Burns
(425) 275-3507
erikaburnsviolin@gmail.com
Cello/String Bass

PERFORMANCE PROCEDURE

Participants MUST STAY FOR THE ENTIRE CLASS including the oral adjudication of all students, or will be disqualified from participation. Only accompanists or teachers may enter or leave during a session.
Changing the student performance order is NOT ALLOWED, except by a Board member in advance. Failure to comply is grounds for disqualification.
NO schedule changes allowed after performance schedules are announced.
1.
Performances must be confined to specified time limits and will be stopped if overtime.
Grossly overtime programs will not be accepted. Contact the MAP for assistance. Omit optional repeats except when absolutely necessary. Observe Da Capos and essential repeats. Cuts are acceptable only in tutti sections and cadenzas.
2.
Music should be opened to the proper page, stacked in performance order, and given to the monitor as the student rises to perform.
3.
PICK UP your musicevaluation form, and Certificate at the close of each class.
Forgotten items cannot be mailed.
4.
Cell phones and tablets must be OFF while in the performance room.
Flash photography is not permitted. Video and audio equipment, if discreetly used, may be acceptable subject to the approval of the adjudicator.
5.
Teachers, family members and guests are welcome to attend adjudicated classes, but must remain quiet and unobtrusive throughout the session. Verbal or non-verbal communication or coaching is not permitted.

REGARDING
ACCOMPANISTS

1.
Entrants MUST arrange for an accompanist BEFORE SUBMITTING the online entry. Incomplete contact information on the submitted form will cause the entry to suspend. Student or Teacher must immediately notify us of any changes in accompanist (through Festival Week) — to avoid schedule conflicts.
2.
Beginning in 2024: Competitive concerto entrants, all instruments, may not be
accompanied by an immediate family member. Similarly, no registered festival student may serve as accompanist for another. Non-competitive AO entrants are exempt from these rules. Accompanist performance limits remain unchanged.
3.
ACCOMPANISTS are limited to a maximum of 24 performances if playing for students from more than one of these four groups: High String, Low String, Woodwind, or Piano. There is no performance limit for accompanists playing only for a single instrument group. Students/Parents make certain your accompanist is aware of this rule and is under the limit.

REPERTOIRE
REQUIREMENTS
STRING CLASSES

1.
Only original published music of recognized classical repertoire may be used.
No photocopied or Internet-sourced scores allowed. All questions (class, repertoire or eligibility) to the *Music Advisory Panel (not the division chair).Entering music which does not meet Festival standards will cause the entry to be delayed. Consult an appropriate *MAP member well in advance.
2.
All music must be memorized, except Sonatas.
3.
No adaptations or arrangements are allowed. Transcriptions are acceptable.
4.
Fugues must accompany Preludes in all periods.
5.
Sets of Variations must be performed in their entirety, without omissions.

PERIOD REQUIREMENTS:

  • Baroque: Double must accompany Dance. Likewise, Minuet I & II, Bourrée I & II, Gavotte I & II.
  • Classical: Schubert sonatas/sonatinas are considered Classical, all other Schubert is Romantic.
  • Romantic: Dohnanyi, MacDowell, and all Scriabin Op.48 and earlier, are considered Romantic.
  • Impressionist: Selections must truly reflect the impressionist idiom.
  • 20th Century/Contemporary: Selections must truly reflect the 20thC./Con idiom. Scriabin after Op. 48 is to be considered 20thC./Contemporary.

To verify the correct period classification of a composer, check the Composer Classification List online.

If the composer does not appear on the list, contact a MAP member well in advance of the registration deadline. For repertoire already in our database, period classifications are predetermined and cannot be changed.

COMPLETE PROGRAM
(String)

High String
41 – 44
Low String
51 – 54

The Complete Program class is a pre-requisite for entrance in any competitive concerto class. It also satisfies the pre-requisite for the non-competitive Adjudication-Only(AO) concerto class. It certainly may be entered as a stand-alone class as well.
1.
Participants will perform three pieces (3), one each from three of the five periods above, to demonstrate their understanding of a broad range of styles.
2.
At least one piece must be from the Baroque or Classical period. One movement of a sonata or concerto constitutes one piece, though multiple movements may be performed within the time limit. All three required periods must be performed during the class.
VIOLIN/VIOLA
Class Grades Playing Time Fee
41 5-6 12 min $75
42 7-8 15 min $80
43 9-10 20 min $90
44 11-12 20 min $90
CELLO/BASS
Class Grades Playing Time Fee
51 5-6 12 min $75
52 7-8 15 min $80
53 9-10 20 min $90
54 11-12 20 min $90

SOLO CLASS (String)

1.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed. Exception: if just one piece is entered, and it exceeds the time limit by less than 50 seconds, the entry will be allowed. The performance will be stopped at the time limit.
2.
Music may be from any period of music above.
3.
Only recognized classical repertoire is allowed.
4.
Transcriptions are acceptable. No adaptations or arrangements are allowed.
SOLO CLASS VIOLIN/VIOLA
Class Grades Playing Time Fee
45 5-6 5 min $65
46 7-8 6 min $70
47 9-10 7 min $75
48 11-12 8 min $75
SOLO CLASS CELLO/BASS
Class Grades Playing Time Fee
55 5-6 5 min $65
56 7-8 6 min $70
57 9-10 7 min $75
58 11-12 8 min $75

ENSEMBLE SECTION STRING: MIXED DUO

Repertoire for String Mixed Duo will have broader acceptability parameters than for other string classes. BE ADVISED, jazz style repertoire that is eligible for this class may not be acceptable in other Festival classes. Please contact the Music Advisory Panel regarding the eligibility of the repertoire you are considering.
MUSIC STANDS ARE NOT PROVIDED.
1.
EACH MEMBER MUST SUBMIT A SEPARATE, INDIVIDUAL ENTRY FORM. The other participants’ name must appear on each individual’s form.
2.
Both performers must be registered Festival students.
One duo member may be a non-string woodwind or piano performer.
3.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed.
4.
Music must be composed for the combination presented
5.
Transcriptions are acceptable, but NOT adaptations nor arrangements. No improvisation.
6.

It is suggested, but not required, that the music be memorized.

STRING MIXED DUO
Class Grades Playing Time Fee
97 7-12 15 min $80

CHAIR

TBD

PERFORMANCE PROCEDURE

Participants MUST STAY FOR THE ENTIRE CLASS including the oral adjudication of all students, or will be disqualified from honors.
Only accompanists or teachers may enter or leave during a session.
Changing the student performance order is Not allowed, except by a Board member in advance. Failure to comply is grounds for disqualification.
No schedule changes allowed after performance schedules are announced
1.
Performances must be confined to specified time limits and will be stopped if overtime. Grossly overtime programs are not accepted. Contact a MAP member for assistance. Omit optional repeats except when absolutely necessary. Observe Da Capos and essential repeats. Cuts are acceptable only in tutti sections and cadenzas.
2.
Music should be opened to the proper page, stacked in performance order, and given to the monitor as the student rises to perform.
3.
PICK UP your musicevaluation form, and Certificate at the close of each class.
Forgotten items cannot be mailed.
4.
Cell phones and tablets must be OFF while in the performance room.
Flash photography is not permitted. Video and audio equipment, if discreetly used, may be acceptable subject to the approval of the adjudicator.
5.
Teachers, family members and guests are welcome to attend adjudicated classes, but must remain quiet and unobtrusive throughout the session. Verbal or non-verbal communication or coaching is not permitted.

REGARDING ACCOMPANISTS

1.
Entrants MUST arrange for an accompanist BEFORE SUBMITTING the online entry. Incomplete contact information on the submitted form will cause the entry to suspend. Student or Teacher must immediately notify us of any changes in accompanist (through Festival Week) — to avoid schedule conflicts.
2.
Beginning in 2024: Competitive concerto entrants, all instruments, may not be accompanied by an immediate family member. Similarly, no registered festival student may serve as accompanist for another. Non-competitive AO entrants are exempt from these rules. Accompanist performance limits remain unchanged.
3.
ACCOMPANISTS are limited to a maximum of 24 performances if playing for students from more than one of these four groups: Upper String, or Lower String, or Woodwind, or Piano. There is no performance limit for accompanists playing only for a single instrument group. Students/Parents make certain your accompanist is aware of this rule and is under the limit.

REPERTOIRE
REQUIREMENTS
ALL WOODWIND
CLASSES

1.
Only original published music of recognized classical repertoire may be used.
No photocopied or Internet-sourced scores allowed. All questions (class, repertoire or eligibility) to the *Music Advisory Panel (not the division chair).Entering music which does not meet Festival standards will cause the entry to be delayed. Consult an appropriate MAP member well in advance.
2.
Memorization is suggested, but not required.
All Concerto Division selections must be memorized to be eligible for Concerto Playoffs.
3.
No adaptations or arrangements are allowed. Transcriptions are acceptable.
4.
Fugues must accompany Preludes in all periods.
5.
Sets of Variations must be performed in their entirety, without omissions.

PERIOD REQUIREMENTS:

  • Baroque
  • Classical
  • Romantic: Dohnanyi, MacDowell, and all Scriabin Op.48 and earlier, are considered Romantic.
  • Impressionist: Selections must truly reflect the impressionist idiom.
  • 20th Century/Contemporary: Selections must truly reflect the 20thC./Con idiom. Scriabin after Op. 48 is considered 20thC./Contemporary.

To verify the correct period classification of a composer, check the Composer Classification List online.

If the composer does not appear on the list, contact a MAP member well in advance of the registration deadline. For repertoire already in our database, period classifications are predetermined and cannot be changed.

COMPLETE PROGRAM
(Woodwind)

The Complete Program class is a pre-requisite for entrance in any competitive concerto class. It also satisfies the pre-requisite for the non-competitive Adjudication-Only(AO) concerto class. It certainly may be entered as a stand-alone class as well.
Participants will perform works from different periods demonstrating a variety of musical styles. One movement of a sonata or concerto constitutes one piece and such selections are appropriate, as are shorter pieces.
1.
Performers in Grades 5-6 will play two pieces (2), one each from two of the five periods of music listed above. Both required periods must be performed during the adjudication.
2.
Performers Grades 7 – 12 will play three pieces (3), one each from three of the five periods of music. The three required periods must be performed during the adjudication.
FLUTE
Class Grades Playing Time Fee
71 5-6 10 min $75
72 7-8 15 min $80
73 9-10 20 min $90
74 11-12 20 min $90
REED
Class Grades Playing Time Fee
81 5-6 10 min $75
82 7-8 15 min $80
83 9-10 20 min $90
84 11-12 20 min $90

SOLO CLASS (Woodwind)

1.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed. Exception: if just one piece is entered, and it exceeds the time limit by less than 50 seconds, the entry will be allowed. The performance will be stopped at the time limit.
2.
Music may be from any period of music above.
3.
Only recognized classical repertoire is allowed.
4.
Transcriptions are acceptable. No adaptations or arrangements are allowed.
SOLO CLASS FLUTE
Class Grades Playing Time Fee
75 5-6  5 min $65
76 7-8 6 min $70
77 9-10 7 min $75
78 11-12 8 min $75
SOLO CLASS REED
Class Grades Playing Time Fee
85 5-6  5 min $65
86 7-8 6 min $70
87 9-10 7 min $75
88 11-12 8 min $75

ENSEMBLE SECTION (Woodwind)

DUETS, TRIOS, QUARTETS, QUINTETS, ONLY

MUSIC STANDS ARE NOT PROVIDED.

1.
Each Student MUST SUBMIT A SEPARATE, INDIVIDUAL ENTRY FORM. The Other Participants name(s) must appear on your entry form (“Final Requirements, Ensemble Info”) so all group members will be scheduled in the same class.
2.
All performers must be registered students (except an accompanist).
3.
Performers will play one or more selections THAT CAN BE FULLY COMPLETED WITHIN the time limit. Overtime programs are not allowed.
4.
Transcriptions are acceptable, but NOT adaptations nor arrangements. No improvisation.
FLUTE
Class Grades Playing Time Fee
91 5-8  10 min $80
92 9-12  15 min $80
REED
Class Grades Playing Time Fee
93 5-8  10 min $80
94 9-12  15 min $80
Composer Period
Aaronson, Sharon 20th C/Con
Abdel-Rahim 20th C/Con
Accolay, Jean Batiste Romantic
Achron, Joseph Romantic
Achron-Gurewich Romantic

Achron-Heifetz Romantic
Adams, John 20th C/Con
Adler, Samuel 20th C/Con
Adorian, Andrew Romantic
Aivazian, Artemy 20th C/Con

Albeniz – Heifetz Romantic
Albeniz-Kreisler Romantic
Albéniz, Isaac Romantic
Albéniz, Mateo Classical
Albinoni, Tomaso Baroque
Albisi, Abelardo Romantic

Alexander, Dennis 20th C/Con
Alexandrov, Anatoly 20th C/Con
Alston, Lettie 20th C/Con
Alwyn, Wm. 20th C/Con
Amirov, Fikret 20th C/Con
Amram, David 20th C/Con
Andersen, Joachim Romantic
Anderson, Leroy 20th C/Con
Andre, Johann Anton Classical
Andres, Bernard 20th C/Con
Anon Baroque
Applebaum, Louis 20th C/Con
Arban, Jean-Baptiste Romantic
Arensky, Anton Romantic
Arlen and Harburg 20th C/Con
Arne, Thomas Baroque
Arnold, Malcolm 20th C/Con
Arutiunian, A. 20th C/Con
Auerbach, Lera 20th C/Con
Auric 20th C/Con
Babadjanyan 20th C/Con
Bacewicz 20th C/Con
Bach Baroque
Bach, C.P.E. Classical
Bach, Joh. Christian Classical
Bach, Joh.Chr-Casadesus Classical
Bach, W.F. Classical
Bach-Franko Baroque
Bach-Heifitz Baroque
Bach-Piatigorsky Baroque
Bach-Primrose Baroque
Baermann Romantic
Bailey, William H. 20th C/Con
Baker, David 20th C/Con
Balakirev, Mily Romantic
Barat Romantic
Barber 20th C/Con
Barlow, Wayne 20th C/Con
Barnes, James 20th C/Con
Bartley, E. 20th C/Con
Bartók 20th C/Con
Bartók-Arma 20th C/Con
Bartók-Gertler 20th C/Con
Bartók-Neubauer 20th C/Con
Bartók-Serly 20th C/Con
Bartók-Szigeti 20th C/Con
Bassi, Luigi Romantic
Bastien, James 20th C/Con
Bauer, Marion Romantic
Bazelaire 20th C/Con
Bazzini Romantic
Beach, Amy Romantic
Becker, Jean Classical
Bedford, David 20th C/Con
Beeftink, Herman 20th C/Con
Beethoven Classical
Beethoven-Moyse Classical
Benda, Franz Classical
Benda, Georg Classical
Benda-Dushkin Classical
Benjamin, Arthur Romantic
Benjamin, George 20th C/Con
Bennett, Richard Rodney 20th C/Con
Benoit, Peter Romantic
Benshoof, Ken 20th C/Con
Berens Romantic
Berg, Alban 20th C/Con
Bergsma, Wm. 20th C/Con
Berkeley, Lennox 20th C/Con
Berkovich, Isak Romantic
Bernstein, L. 20th C/Con
Bernstein, S. 20th C/Con
Berteau, Martin Classical
Berthomieu, Marc 20th C/Con
Biber, Heinrich Baroque
Biehl, Albert Romantic
Bizet, Georges Romantic
Blacher, Boris 20th C/Con
Blavet, Michel Baroque
Bloch, Ernest 20th C/Con
Boccherini Classical
Boehm, Theobald Romantic
Boellmann Romantic
Boisdeffre Romantic
Boismortier Baroque
Bolcom, William 20th C/Con
Boldyrev, Igor Classical
Bolling, Claude 20th C/Con
Bonds, Margaret 20th C/Con
Bonis, Melanie Romantic
Borne, Francois Romantic
Borodin, A. Romantic
Borowski Romantic
Bortkiewicz, Sergei Romantic
Bosch, Òscar Colomina i 20th C/Con
Bottesini Romantic
Bouffil, Jacques Classical
Boulanger, Lili 20th C/Con
Bourdeau, Eugène Romantic
Bowen, York Romantic
Boyce-Behnke Baroque
Boyce-Rothwell Baroque
Bozza, Eugène 20th C/Con
Böhm, Carl Romantic
Brahms Romantic
Brahms-Applebaum Romantic
Brahms-Klengel Romantic
Brahms-Kreisler Romantic
Breval Classical
Briccialdi, Giulio Romantic
Bridge, Frank 20th C/Con
Britten, Benjamin 20th C/Con
Brown, Elizabeth 20th C/Con
Brown, Timothy 20th C/Con
Bruch Romantic
Brun, Georges 20th C/Con
Brustad 20th C/Con
Burgmüller Romantic
Burnam, Edna-Mae 20th C/Con
Burton, Eldon 20th C/Con
Busoni, Ferruccio 20th C/Con
Buttstedt, Johann H. Baroque
Buxtehude Baroque
Büsser, Henri Romantic
Byrd, William Baroque
Cahuzac Romantic
Caliendo, Christopher 20th C/Con
Camidge Classical
Capers, Valerie Jazz
Caplet, André Impressionist
Capuzzi, Antonio Classical
Caramia, Tony 20th C/Con
Carmichael, John 20th C/Con
Carter, Elliott 20th C/Con
Casadesus, Henri (Handel) Baroque
Casadesus, Robert 20th C/Con
Casals 20th C/Con
Casella 20th C/Con
Cassadó, Gaspar 20th C/Con
Castelnuovo-Tedesco 20th C/Con
Castelnuovo-Tedesco-Heifetz 20th C/Con
Castérède 20th C/Con
Chabrier Romantic
Chaminade Romantic
Chasins, Abram 20th C/Con
Chatman, Stephen 20th C/Con
Chausson, Ernest Impressionist
Cheatham, Wallace 20th C/Con
Chen and He 20th C/Con
Chen, Peixun 20th C/Con
Chen, Yi 20th C/Con
Cheney, Carey 20th C/Con
Cheney, Elliott W. 20th C/Con
Cherubini Classical
Chesky, David 20th C/Con
Choisy, Laure Baroque
Chopin Romantic
Chopin-Glazunov Romantic
Chopin-Milstein Romantic
Christensen, James 20th C/Con
Chugunov, Yury 20th C/Con
Cimarosa Classical
Cimarosa-Benjamin Classical
Clarke, Herbert Romantic
Clarke, Ian 20th C/Con
Clarke, Jeremiah Baroque
Clarke, Rebecca 20th C/Con
Clavaud, François 20th C/Con
Clebanoff, Herman 20th C/Con
Clementi Classical
Colin, Charles Romantic
Concone, Giuseppe Romantic
Conus, Julius Romantic
Cooke, Arnold 20th C/Con
Cooper, John 20th C/Con
Copland 20th C/Con
Coquard Romantic
Corelli Baroque
Corigliano, John 20th C/Con
Coulthard, Jean 20th C/Con
Couperin Baroque
Couperin-Cassedo Baroque
Cowell, Henry 20th C/Con
Creston, Paul 20th C/Con
Crosby, Anne 20th C/Con
Crumb 20th C/Con
Crusell, Bernhard Classical
Cuellar, Martin 20th C/Con
Cui, César Romantic
Czerny Classical
d’Alessandro 20th C/Con
d’Ambrosio, Alfredo Romantic
Dahl, Ingolf 20th C/Con
Damaré, Eugène Romantic
Damm, August Romantic
Dancla, Charles Romantic
Danielpour, Richard 20th C/Con
Danzi, Franz Classical
Daquin Baroque
David, Ferdinand Romantic
Davidoff, Karl Romantic
Davis, Allan 20th C/Con
de Bériot, Charles Romantic
de Falla Romantic
de Falla-Kreisler Romantic
de Roxlo, G.S. 20th C/Con
de Taeye, Alexander 20th C/Con
Debussy Impressionist
Debussy-Choisnel Impressionist
Debussy-Gretchaninoff Impressionist
Debussy-Hartman Impressionist
Debussy-Heifetz Impressionist
Debussy-Lafleurance Impressionist
Debussy-Roques Impressionist
Debussy-Webber Impressionist
Del Tredici, David 20th C/Con
Dela, Maurice 20th C/Con
Delaval, Adelaide Classical
Delius, Frederick Romantic
Dello Joio 20th C/Con
Demersseman Romantic
Desplanes Baroque
Desportes 20th C/Con
Dett, Robert N. 20th C/Con
Devienne Classical
Diabelli Classical
Dick, Robert 20th C/Con
Diemer, Emma Lou 20th C/Con
Dimitrescu, Constantin Romantic
Din He-Lu 20th C/Con
Ding, ShanDe 20th C/Con
Dinicu-Heifetz Romantic
Dittersdorf Classical
Dohnanyi Romantic
Dolin 20th C/Con
Donizetti Romantic
Donizetti-Cokken Romantic
Donjon Romantic
Doppler Romantic
Dorff, Daniel 20th C/Con
Dorman, Avner 20th C/Con
Dragonetti Classical
Drdla, Franz Romantic
Drigo, Riccardo Romantic
Dring 20th C/Con
Drouet, Louis Classical
Dubois, Pierre Max 20th C/Con
Duport Classical
Durante, Francesco Baroque
Dussek Classical
Dutilleux 20th C/Con
Duvernoy, Jean-Baptiste Romantic
Dvarionas, Balys 20th C/Con
Dvorák Romantic
Dvorák-Kreisler Romantic
Eben 20th C/Con
Eccles Baroque
Einem, Gottfried 20th C/Con
Elgar Romantic
Elias, Brian 20th C/Con
Elliot, Willard 20th C/Con
Elmenrich Romantic
Enesco Romantic
Ernst, Heinrich W. Romantic
Escaich, Thierry 20th C/Con
Escher, Rudolf 20th C/Con
Escuer 20th C/Con
Ewazen, Eric 20th C/Con
Faith, Richard 20th C/Con
Fauré Romantic
Feld, Jindrich 20th C/Con
Fernández, Oscar 20th C/Con
Ferroud, Pierre-Octave Impressionist
Fetis 20th C/Con
Field, John Romantic
Fine, Irving 20th C/Con
Finzi, Gerald 20th C/Con
Fiocco Baroque
Fischer, Johann C.F. Baroque
Flemming 20th C/Con
Flesch Baroque
Foote, Arthur 20th C/Con
Foss 20th C/Con
Foster-Heifitz Romantic
Franchomme, Auguste Romantic
Franck Romantic
Francoeur Classical
Françaix, Jean-René 20th C/Con
Freed 20th C/Con
Freedman 20th C/Con
Frescobaldi Baroque
Frescobaldi-Cassadó Baroque
Freund, Don 20th C/Con
Fukushima 20th C/Con
Furlong 20th C/Con
Furstenau Romantic
Gabriel-Marie Romantic
Gabrielli, Domenico Baroque
Gabucci Romantic
Gade, Niels Romantic
Gallant, Pierre 20th C/Con
Galliard, Johann E. Baroque
Galuppi Baroque
Galynin, German 20th C/Con
Ganne, G. Louis Romantic
Gardner, Samuel 20th C/Con
Gates, Keith 20th C/Con
Gaubert, Phillippe Romantic
Gavrilin, Valery 20th C/Con
Genin Romantic
Genzmer 20th C/Con
Germaine- Tailleferre 20th C/Con
German 20th C/Con
Gerou Jazz
Gershwin 20th C/Con
Gershwin & Donaldson 20th C/Con
Gershwin-Heifetz 20th C/Con
Gieseking 20th C/Con
Gilliam 20th C/Con
Gillock Romantic
Ginastera 20th C/Con
Giordano Romantic
Glass 20th C/Con
Glazunov Romantic
Glière, Reinhold Romantic
Glinka Romantic
Gluck Classical
Gluck-Kreisler Classical
Godard, Benjamin Romantic
Godowsky Romantic
Goedicke Romantic
Goldmark, Karl Romantic
Golle 20th C/Con
Goltermann, Georg Romantic
Goosens, Eugene 20th C/Con
Gordeli, Otar 20th C/Con
Gossec Classical
Gottschalk, Louis Romantic
Gould, Morton 20th C/Con
Gounod Romantic
Gounod (Bach) Romantic
Grainger, Percy 20th C/Con
Granados Romantic
Granados-Kreisler Romantic
Graupner, Christoph Baroque
Gretchaninov Romantic
Grétry, André Classical
Grieg Romantic
Griffes Impressionist
Grovlez, Gabriel Romantic
Gruenberg 20th C/Con
Guastavino 20th C/Con
Gubaidulina 20th C/Con
Guilmant, Alexandre Romantic
Gurlitt Romantic
Haberbier, Ernst Romantic
Haddad, Donald 20th C/Con
Haesche, William Romantic
Hajdu 20th C/Con
Hakim 20th C/Con
Halffter, Ernesto 20th C/Con
Handel Baroque
Handel-Barbirolli Baroque
Handel-Halvorsen Baroque
Hanson, Howard 20th C/Con
Harbison 20th C/Con
Harraden Glover, Ethel Romantic
Harraden Glover, Ethel Romantic
Harrison, Lou 20th C/Con
Hartley, Walter S. 20th C/Con
Harty, Hamilton 20th C/Con
Harvey, Paul 20th C/Con
Haslinger, Tobias Classical
Hasse, Johann Baroque
Hauer, Josef 20th C/Con
Hawes, Jack 20th C/Con
Haydn Classical
Haydn, Michael Classical
Hays, Regina 20th C/Con
Hässler, Johann Wilhelm Classical
Head, Michael Romantic
Heiden, Bernard 20th C/Con
Heller Romantic
Hellewell, David 20th C/Con
Helps, Robert 20th C/Con
Henderson, Ruth W. 20th C/Con
Hensel, Fanny Romantic
Henselt, Adolf von Romantic
Henze, Hans Werner 20th C/Con
Herbert, Victor Romantic
Hermann, Ralph 20th C/Con
Higdon, Jennifer 20th C/Con
Hindemith 20th C/Con
Hoffmeister, F. A. Classical
Hofmann, Heinrich Romantic
Honegger 20th C/Con
Hook, James Classical
Hoover, Katherine 20th C/Con
Horovitz 20th C/Con
Horusitzky 20th C/Con
Horvit, Michael 20th C/Con
Hotteterre, Jaques Baroque
Hovhaness 20th C/Con
Hubay, Jenõ Romantic
Huber, Adolf 20th C/Con
Hummel, Johann Classical
Hüe, Georges Romantic
Ibert 20th C/Con
Ilynsky Romantic
Ireland, John Impressionist
Ives, Charles 20th C/Con
Jacob, Gordon 20th C/Con
Jacques, Michael 20th C/Con
Jadassohn Romantic
Jalbert, Pierre 20th C/Con
Janácek 20th C/Con
Jaque, Rhené 20th C/Con
Jardanyi, Pal 20th C/Con
Jean-Jean, Paul Impressionist
Jeanjean, Faustin Impressionist
Jenkinson, Ezra Romantic
Ježek, Jaroslav Jazz
Jolivet, André 20th C/Con
Joncières, Victorin Romantic
Jongen, Joseph Impressionist
Joplin Jazz
Kabalevsky 20th C/Con
Kabalevsky-Duchemin 20th C/Con
Kabalevsky-Szigeti 20th C/Con
Kadosa 20th C/Con
Kalinnikov, Vasily Romantic
Kalliwoda, J.W. Romantic
Kalsons, Romualds 20th C/Con
Kapustin, Nikolai 20th C/Con
Karganov, Genary Romantic
Karp, David 20th C/Con
Kazhlaev, Murad 20th C/Con
Keeney, Wendell 20th C/Con
Kennan, Kent 20th C/Con
Khachaturian 20th C/Con
Kile 20th C/Con
Kindermann, Johann Baroque
Kirchner, Leon 20th C/Con
Kirchner, Theodor Romantic
Kirnberger Baroque
Klein, Gideon 20th C/Con
Klengel, Julius Romantic
Klotzman, Dorothy 20th C/Con
Knussen, Oliver 20th C/Con
Kocher, L. 20th C/Con
Kodaly 20th C/Con
Koechlin 20th C/Con
Koepke 20th C/Con
Kohler, Ernesto Romantic
Kohler, Louis Classical
Kolling, Carl Romantic
Kollmann, Augustus Classical
Komarovsky, Anatoli 20th C/Con
Korngold, Erich W. 20th C/Con
Koussevitsky Romantic
Koželuch, Johann Antonin Classical
Koželuh, Leopold Antonin Classical
Kraehenbuehl, David 20th C/Con
Kraft, Leo 20th C/Con
Krebs Baroque
Kreiger, Johann Baroque
Kreisler Romantic
Kreutzer, Rodolphe Classical
Kroll, William Romantic
Krommer Classical
Kuhlau Classical
Kullak Romantic
Kummer Romantic
Kurtág, György 20th C/Con
Kuzmenko, Larysa 20th C/Con
Küchler Classical
La Montaine 20th C/Con
Labate, Bruno Romantic
Labunski Romantic
Lalo Romantic
Lamb 20th C/Con
Langenus, Gustave Romantic
Larsson, Lars-Erik 20th C/Con
Latour Classical
Lavry 20th C/Con
Lebrun, Ludwig August Classical
Leclair, Jean Marie Baroque
Lecuona, Ernesto Romantic
Ledeuil, Eric 20th C/Con
Lee, Sebastian Romantic
Lees, Benjamin 20th C/Con
Lefèvre, Jean Xavier Classical
Lehar, Franz Romantic
Lehar-Kreisler Romantic
Lehman, Albert Semyonovich 20th C/Con
Leighton, Kenneth 20th C/Con
Leschetizky Romantic
Liadov, Anatol Romantic
Liadov-Piatigorsky Romantic
Lichner Classical
Liebermann, Lowell 20th C/Con
Ligeti 20th C/Con
Liszt Romantic
Liszt-Milstein Romantic
Litolff, Henry Romantic
Locatelli Baroque
Loeillet Baroque
Lombardo, Ricky 20th C/Con
Lorenzitti, Joseph Classical
Loudova, Ivana 20th C/Con
Louie, Alexina 20th C/Con
Lovreglio, Donato Romantic
Lully, Jean-Baptiste Baroque
Lutoslawski, Witold 20th C/Con
Lyapunov Sergey Romantic
MacDowell Romantic
Machavariani, Alexei 20th C/Con
Maconchy 20th C/Con
Marais Baroque
Marcello, Alessandro Baroque
Marcello, Benedetto Baroque
Martin, Frank 20th C/Con
Martini, P. G. B. Baroque
Martinon, Jean 20th C/Con
Martinu 20th C/Con
Massenet Romantic
Mattheson, Johann Baroque
Maykapar Romantic
McCabe, John 20th C/Con
McGinty 20th C/Con
McGrath, Jim 20th C/Con
McIntyre, David L. 20th C/Con
McKay, Francis H. 20th C/Con
McKay, George Fr. 20th C/Con
McKinley, Wm. T. 20th C/Con
McLean, Edwin Jazz
McMichael 20th C/Con
Medtner 20th C/Con
Mehul Classical
Mendelssohn Romantic
Mennin 20th C/Con
Menotti 20th C/Con
Mercadante Romantic
Merci, Luigi Baroque
Messager Impressionist
Messiaen 20th C/Con
Metallidi, Jeannetta 20th C/Con
Milde, Ludwig Romantic
Milford, Robin 20th C/Con
Milhaud 20th C/Con
Minsky, Aaron 20th C/Con
Miroshnikov, Oleg 20th C/Con
Miyagi 20th C/Con
Mlynarski Romantic
Molique Romantic
Mollenhauer Romantic
Molter Baroque
Mompou 20th C/Con
Mondonville Baroque
Monn, Georg Matthias Baroque
Monteverdi Baroque
Monti, Vittorio Romantic
Morel 20th C/Con
Morlacchi Romantic
Morovsky, Alexander Romantic
Morris, Alyssa 20th C/Con
Moszkowski Romantic
Mouquet, Jules Romantic
Moyse, Louis 20th C/Con
Mozart Classical
Mozart, Leopold Classical
Mozart-Barber Classical
Mozart-Kreisler Classical
Muczynski, Robert 20th C/Con
Murphy, Kelly-Marie 20th C/Con
Mussorgsky Romantic
Myslivicek Classical
Nagdyan, Stepan 20th C/Con
Nakada 20th C/Con
Nardini Classical
Naudot Baroque
Nazareth Romantic
Nelk, August Romantic
Nelson, Roger 20th C/Con
Nero, Paul Jazz
Neruda, Franz Romantic
Nicodé Romantic
Nicolai, Otto Romantic
Nielsen, Carl 20th C/Con
Niemann Romantic
Nin, Joaquin 20th C/Con
Novacek, John Jazz
Novácek, Ottokar Romantic
O’Connor, Mark Jazz
Offenbach, Jacques Romantic
Offermans, Wil 20th C/Con
Osborne, Willson 20th C/Con
Ostransky, Leroy 20th C/Con
Otaka, Hisatada 20th C/Con
Pachelbel Baroque
Pachulski, Henryk Romantic
Paderewski Romantic
Paganini Classical
Paganini-Kreisler Classical
Paladilhe, Émile Romantic
Palmgren Impressionist
Papandopulo Boris 20th C/Con
Papini Romantic
Papp, Lajos 20th C/Con
Paradies, D. Baroque
Paradis, M.T. von Classical
Paradis-Buchtel Classical
Pascal, Claude 20th C/Con
Payne, Anthony 20th C/Con
Pärt, Arvo 20th C/Con
Penderecki, Krzysztof 20th C/Con
Pergolesi Baroque
Perkinson, Coleridge-Taylor 20th C/Con
Persichetti, V 20th C/Con
Pescetti Baroque
Pessard, Emile Romantic
Peterburgsky, Ezhi Jazz
Petzold Baroque
Pez, Johann (DE) Baroque
Pezel, Johann (IT) Baroque
Périlhou, Albert 20th C/Con
Phillips, Burrill 20th C/Con
Piatti Romantic
Piazzolla 20th C/Con
Pieczonka Romantic
Pierné, Gabriel Romantic
Pinto, Octavio 20th C/Con
Piston, Walter 20th C/Con
Planel, Robert 20th C/Con
Pleyel Classical
Poldini, Ede Romantic
Polson, Arthur 20th C/Con
Ponce-Heifetz Romantic
Poole, Clifford 20th C/Con
Popp, Wilhelm Romantic
Popper Romantic
Potstock, Wm Romantic
Poulenc 20th C/Con
Powning, Graham 20th C/Con
Previn 20th C/Con
Prévost, André 20th C/Con
Price, Florence Romantic
Primiani, Leanna 20th C/Con
Prokofiev 20th C/Con
Prokofiev-Grjunes 20th C/Con
Prokofiev-Heifetz 20th C/Con
Prokofiev-Piatigorsky 20th C/Con
Purcell Baroque
Puts, Kevin 20th C/Con
Quantz, Johann Baroque
Quate, Amy 20th C/Con
Rabaud, Henri Romantic
Rabbath, Francois 20th C/Con
Rabboni Romantic
Rachmaninoff Romantic
Raff, Joachim Romantic
Rahbee, Dianne 20th C/Con
Rakov 20th C/Con
Rameau Baroque
Raminsh, Imant 20th C/Con
Ran, Shulamit 20th C/Con
Ravel Impressionist
Rawsthorne, Alan 20th C/Con
Ránki, György 20th C/Con
Rebel, Jean-Féry Baroque
Rebikov 20th C/Con
Reger, Max Romantic
Reicha, Anton Classical
Reinecke Romantic
Reinhold, Hugo Romantic
Remusat, Jean Romantic
Respighi Romantic
Rhené-Baton Impressionist
Ricci, Francesco Baroque
Richter, Max 20th C/Con
Rieding, Oscar Romantic
Riegger, W. 20th C/Con
Ries, Franz Romantic
Rieti, Vittorio 20th C/Con
Riley, Carl 20th C/Con
Rimsky-Korsakov Romantic
Rivier, Jean 20th C/Con
Rocherelle 20th C/Con
Rode, Pierre Classical
Rodrigo, Joaquin 20th C/Con
Roger-Ducasse Romantic
Rohde, Eduard Romantic
Romberg, Bernard Classical
Rossini Romantic
Roussel 20th C/Con
Rózsa, Miklós 20th C/Con
Rubbra, Edmund 20th C/Con
Rubinstein Romantic
Ruders 20th C/Con
Rueff, Jeanine 20th C/Con
Russell, Oswald 20th C/Con
Rust, Friedrich Classical
Rutter 20th C/Con
Rzewski 20th C/Con
Sabo, Victoria 20th C/Con
Saenger, Gustav Romantic
Saint-Saëns Romantic
Saint-Saëns-Ysaÿe Romantic
Sammartini, Giovanni Classical
Sancan, Pierre 20th C/Con
Sandoval 20th C/Con
Sarasate Romantic
Satie 20th C/Con
Scarlatti Baroque
Schein, Johann Baroque
Schmitt, Jacob Romantic
Schnittke 20th C/Con
Schocker 20th C/Con
Schoenberg 20th C/Con
Schoenmehl 20th C/Con
Schröter Classical
Schubert-Böehm Romantic
Schulhoff, Erwin 20th C/Con
Schuman, Wm. 20th C/Con
Schumann Romantic
Schumann, Clara Romantic
Schwantner 20th C/Con
Schytte Romantic
Scott, A.A. 20th C/Con
Scott, Cyril Romantic
Seitz, Friedrich Romantic
Seixas Baroque
Senaillé, Jean Baptiste Baroque
Senaillé-Andraud/Pezzi Baroque
Serocki, Kazimierz 20th C/Con
Sessions, Roger 20th C/Con
Severn, Edmund Romantic
Shaporin 20th C/Con
Shchedrin 20th C/Con
Sheftel, Paul Jazz
Shostakovich 20th C/Con
Shostakovich-Tsyganov 20th C/Con
Shrude, Marilyn 20th C/Con
Sibelius Romantic
Silcher Romantic
Silvansky, N. 20th C/Con
Simaku, Thomas 20th C/Con
Sinding, Christian Romantic
Singelée, Jean-Baptiste Romantic
Sitt, Hans Romantic
Slavický, Klement 20th C/Con
Slonimsky, Sergei 20th C/Con
Smetana Romantic
Smith, Hale 20th C/Con
Soler Baroque
Sollima, Giovanni 20th C/Con
Solomon, Edward Romantic
Sommerfeldt 20th C/Con
Sorokin, Konstantin Romantic
Southam, Ann Jazz
Sperontes(Scholze), Johann Baroque
Spindler, Fritz Romantic
Spohr Romantic
Springer, Mike 20th C/Con
Squire, William Henry Romantic
Stamitz, Carl Philipp Classical
Stamitz, Johann Classical
Starer, Robt. 20th C/Con
Still, William Grant 20th C/Con
Stölzel Baroque
Strauss, Johann Romantic
Strauss, Richard Romantic
Stravinsky, Igor 20th C/Con
Stravinsky, Soulima 20th C/Con
Stravinsky-Dushkin 20th C/Con
Streabbog Romantic
Stutchewsky, Joachim 20th C/Con
Suk, Josef 20th C/Con
Summer, Mark 20th C/Con
Surinach, Carlos 20th C/Con
Svendsen, Johan Romantic
Szelenyi 20th C/Con
Szulc-Hennebains Romantic
Szymanowski, Karol Romantic
Taffanel, Paul Romantic
Tajcevic, Marko 20th C/Con
Takata, Saburo 20th C/Con
Takács 20th C/Con
Takemitsu, Toru 20th C/Con
Taktakishvili 20th C/Con
Talmi, Yoav 20th C/Con
Tan Dun 20th C/Con
Tansman 20th C/Con
Tartini Baroque
Tartini-Kreisler Baroque
Tauriello, Antonio 20th C/Con
Tchaikovsky Romantic
Tcherepnin 20th C/Con
Telemann Baroque
Templeton, Alec 20th C/Con
Ten Have Romantic
Tertis-Barber, B. Romantic
Tessarini Baroque
Thomas, J.R. Romantic
Thomé, Francis Romantic
Thompson 20th C/Con
Tishchenko, Boris 20th C/Con
Toch, Ernst 20th C/Con
Torelli, Giuseppe Baroque
Torjussen, Trygve Romantic
Trott, Josephine Romantic
Tsintsadze 20th C/Con
Tsitsaros, Christos 20th C/Con
Tubin, Eduard 20th C/Con
Turina 20th C/Con
Turrin, Joseph Romantic
Türk, Daniel G. Classical
Tyndall, John 20th C/Con
V. Kossenko Romantic
Vale-Heifitz Romantic
Valentini, G. Baroque
Vallier, John 20th C/Con
van Goens, D. Romantic
Vandall, Robert 20th C/Con
Vanhal, Johann Baptist Classical
Varèse, Edgard 20th C/Con
Vaughan Williams 20th C/Con
Vecsey, Ferenc (Franz) Romantic
Veracini Baroque
Verne, Mary 20th C/Con
Verrall, John 20th C/Con
Vianna, Fructuoso Romantic
Vieuxtemps Romantic
Villa Lobos 20th C/Con
Vinci Baroque
Vine, Carl 20th C/Con
Viotti, Giovanni Classical
Vitali, Tomaso Baroque
Vivaldi Baroque
Vivaldi-Respighi Baroque
Volkmann, F. Robert Romantic
Voormolen, Alexander 20th C/Con
Wagner Romantic
Walkiers, Eugène Romantic
Walton, William 20th C/Con
Wang, Jianzhong Romantic
Ward, Robert 20th C/Con
Waxman, Donald 20th C/Con
Waxman, Franz Romantic
Weber Classical
Weber-Burmester Romantic
Weber-Küffner Classical
Webern 20th C/Con
Webster, C. Romantic
Weill 20th C/Con
Weill-Heifetz 20th C/Con
Wetzger 20th C/Con
Widor Romantic
Wieniawski Romantic
Wieniawski-Kreisler Romantic
Wier, A.E. Romantic
Wierzbilovich, Alexander Romantic
Wilder, Alec 20th C/Con
Williams, Wm. Baroque
Wish, David 20th C/Con
Witt, Christian F. Baroque
Woodall, Albert Romantic
Work, John W. 20th C/Con
Wölfl Classical
Wuensch, Gerhard 20th C/Con
Ysaÿe 20th C/Con
Zaderatsky, V.P. 20th C/Con
Zender, Hans 20th C/Con
Zipoli Baroque
Zyman, Samuel 20th C/Con