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. |
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 1, even 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. |
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.
|
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.
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 music, evauation 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. 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. 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. However, if, 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 music, evaluation 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:
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. |
| 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. |
| 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 music, evaluation 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:
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 music, evaluation 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:
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 |