XXII Міжнародний конкурс ім. Йогана Себастьяна Баха

Конкурси ВіолончельСпів2020
Дедлайн: 25/02/2020
Місце проведення: Лейпциг, Німеччина
Дисципліни: Віолончель Спів
З: 13/07/2020 До: 25/07/2020
Обмеження за віком: 16-33

Competition Rules 2020

1.
The XXIInd International Johann Sebastian Bach Competition 2020 will be held in the following disciplines: Organ, Voice, Violoncello/Baroque violoncello. The Competition is open to the public. The Competition will be held in Leipzig from July 13 to 25, 2020.

2.
The International Johann Sebastian Bach Competition expects participants to meet very high standards. They should have a confident stage manner and be experienced at performing in the historical style required in the Competition programme. It is expected that candidates use urtext editions. A great number of manuscripts of Bach’s works can be found at www.bachdigital.de.

3.
The Competition is open to soloists of any nationality who are at least 16 years old and who accept the Competition Rules. The participants must have been born after July 25, 1987.

4.
The application must be submitted by February 25, 2020 (date of postmark on the letter and date of e-mail).

a) The application consists of the following:
› A video containing the required pre-selection programme
› Form stating the acceptance of the Competition rules
› A passport photograph
› Application form
› Programme form
› A scan of a birth certificate, passport or ID card
› For degree holders: proof of musical training (diploma etc.)
› For students: a letter from a teacher recommending participation in the Competition
› A portrait (9 x 13 cm/3.5” by 4.75” at least 300 dpi)
› Artistic curriculum vitae

b) How to send the required materials
› by post: form stating the acceptance of the Competition rules, passport photograph
› by e-mail to wettbewerb@bach-leipzig.de: application form, programme form, birth certificate, passport or ID card (scan), proof of musical training or letter from a teacher, portrait, artistic curriculum vitae (all file names name must include the name of the candidate)
› by file transfer (WeTransfer or Filemail): video with the pre-selection programme (the file name must include the name of the candidate)

All forms can be found at www.bachwettbewerbleipzig.de.

Incomplete applications will not be accepted. Once applications have been verified, they shall be passed on to the selection jury.

5.
The number of participants is limited to a maximum of 50 in each discipline. The selection jury for the individual disciplines shall choose entrants to participate in the Competition on the basis of the submitted videos. Recording should be done in appropriate venues; these do not include empty churches (Voice or Violoncello) or living rooms, but e. g. in halls/ studios at the conservatory/university. High sound quality is expected. Successful entrants shall be notified in writing by the Competition office by April 20, 2020. Applicants shall be entitled to participate in the Competition once they have received this notice and remitted their application fee.

6.
The application fee is Euro 100. The application fee is to be remitted free of all charges for the recipient by May 22, 2020 to the following bank account.

Recipient:
Bach-Archiv Leipzig
Bank: Sparkasse Leipzig
IBAN: DE39 8605 5592 1100 9010 07
BIC: WELADE8LXXX (Swift Code)
Purpose of payment: Bach Competition + Name of participant

The remittance slip must include the name of the participant written legibly (especially if the registration fee is transferred by somebody else). The payment confirmation slip is to be presented by the candidate at the Competition office on arrival. Payment may also be made by credit card (Visa, American Express, JCB or MasterCard) supplying the card number and its expiry date. Please note that the application fee will not be refunded in the event that a participant withdraws from the Competition.

7.
Participants must organize and pay for all travel to and from the Competition as well as board and accommodation in Leipzig themselves. Participants who reach the second round shall be granted an allowance of Euro 25 per day until the end of the Competition. This allowance shall not be paid to participants who live or study in or near Leipzig (up to 50 km away).

8.
Participants in the disciplines Voice and Violoncello/Baroque violoncello are encouraged to bring their own accompanists (keyboard instruments only) with them at their own expense. The name(s) of the accompanist(s) must be included on the entry form. Chamber ensembles are not allowed.
If necessary, the Competition office can provide one or more accompanists for a flat fee of Euro 25 per round. This fee must be paid in cash before each round in Leipzig. Registrants for the discipline organ and the soprano and the continuo cellist in the discipline Violoncello/Baroque violoncello will be supplied at no charge to the participants. The Competition shall provide participants with practice rooms at no charge.

9.
In the discipline Violoncello/Baroque violoncello, it is obligatory to use a floor protector. The Competition will provide a cello board.

10.
The Organizer shall be entitled to make audio and video recordings of all the performances and other events during the Competition and to use them in connection therewith, e. g. publish photographs of participants. MDR (Mitteldeutscher Rundfunk/Central German Broadcasting Corporation) shall record all performances and other events wholly or in part and shall broadcast them live and/or later (in radio and internet) and/or pass these recordings on to other broadcasters.
Competition participants shall not be entitled to claim any remuneration for these recordings. The prizewinners undertake to perform in the prizewinners’ concert and to allow the recording thereof to be published for non-commercial purpose without a fee.

11.
On arrival, Competition participants must report in person for registration. The Competition office will be in
Bach-Archiv Leipzig
Thomaskirchhof 15/16, 04109 Leipzig
The Competition consists of the first round, the second round and the finals. Participants shall appear in alphabetical order based on the first letter of their surname. The Competition management shall determine by means of a drawing at what point in the alphabet the Competition will start. The order of appearance decided shall apply to all rounds of the Competition. Every prizewinner and finalist must be present at the awards ceremony on Saturday, July 25, 2020, in order to personally receive his or her award.

12. Competition timetable

Participant’s registration // Bach-Archiv
Organ, Voice // Mon, July 13, 2020 // 2.00 pm–6.00 pm
Cello // Tue, July 14, 2020 // 2.00 pm–6.00 pm

Announcement of the order of appearance
Organ // Mon, July 13, 2020 // 9.00 pm
Voice // Tue, July 14, 2020 // 8.30 am
Cello // Tue, July 14, 2020 // 9.00 pm

Rehearsals with accompanists and hall rehearsals
Organ, Voice // from Tue, July 14, 2020
Cello // from Wed, July 15, 2020

Opening concert // Evangelisch Reformierte Kirche
Wed, July 15, 2020 // 8.00 pm

1st round
Thu, July 16, 2020, until Sat, July 18, 2020
Rehearsal day for the 2nd round
Sun, July 19, 2020

2nd round
Mon, July 20, 2020, and Tue, July 21, 2020
Rehearsal days for the finals
Wed, July 22, 2020, and Thu, July 23, 2020

Finals
Fri, July 24, 2020
Presentation of prizes // Alte Börse
Sat, July 25, 2020 // 3.00 pm
Prizewinners’ concert // Thomaskirche
Sat, July 25, 2020 // 8.00 pm

13. Prizes
1st Prize: € 10,000
2nd Prize: € 7,500
3rd Prize: € 5,000

The prizewinners are entitled to use the title »Bachpreisträger« (Bach Prizewinner).
The jury shall decide on the award of grants, special prizes and concert engagements for prizewinners and finalists. The decisions will be announced during the presentation of prizes. All participants will receive a diploma documenting their achievement.
Concert engagements have been offered by the Leipzig Bach Festival and the Leipzig Bach-Museum. Further concert venues will announce their interest before the Bach Competition. The Bach-Marschall Foundation offers grants for East European candidates. GENUIN classics (CD label) presents as a special prize the production of a CD with one of the prizewinners; Bärenreiter-Verlag presents Urtext prizes in all disciplines. In the discipline Voice, a special prize, sponsored by Lisa Larsson, will be awarded for the best expressive declamation of a recitative (textual understanding and declamation).

14.
The Competition results in each discipline shall be decided by the jury. The jury’s decision is always final. Legal recourse is excluded. The jury shall assess participants on the basis of the jury regulations which will be published on www.bachwettbewerbleipzig.de. Jurors may not take part in the assessment of their own pupils. Assessment shall be carried out confidentially. After each round, jurors shall be available to talk to competitors who are not continuing to the next round as well as after the prizes have been announced. Competitors continuing to the next round are forbidden from talking with jury members.

15.
Regarding data privacy information,
see: www.bach-leipzig.de/en/neutral/privacy-policy.
After the end of the Competition, the application data will be deleted.

The Jury 2020

Organ

Bine Bryndorf / Denmark
Arvid Gast* / Germany
Lorenzo Ghielmi / Italy
David Higgs / USA
Rudolf Lutz / Switzerland
Daniel Roth / France
Martin Schmeding / Germany

Voice

Christoph Genz / Germany
Ton Koopman* / Netherlands
Lisa Larsson / Sweden
Hanno Müller-Brachmann / Germany
Margot Oitzinger / Austria
Thomas Quasthoff / Germany
James Taylor / USA
Johannette Zomer / Netherlands

Violoncello/Baroque violoncello

Thomas Demenga / Switzerland
Ralph Kirshbaum* / USA
Jens Peter Maintz / Germany
Werner Matzke / Germany
Ivan Monighetti / Russia
Hidemi Suzuki / Japan
Kristin von der Goltz / Germany

* Head of jury

Competition programme 2020

Pre-Selection

Candidates must present uninterrupted video recordings. Splices may be made between individual pieces, but not within a piece. Splices between movements of a work are not allowed.

a) Johann Sebastian Bach (1685–1750)
Vivace
from: Sonata C minor, BWV 526

b) Johann Sebastian Bach
Wenn wir in höchsten Nöten sein, BWV 641

c) Johann Sebastian Bach
Fugue D major, BWV 532/2
or
Fugue E minor, BWV 548/2

1st Round

at the Collon organ in the University of Music and Theatre Leipzig (max. 25 min)

a) Nicolaus Bruhns (1665–1697)
Prelude G major
or
Dieterich Buxtehude (1637–1707)
Prelude E minor, BuxWV 142
or
Vincent Lübeck (1654–1740)
Prelude G minor

b) Johann Sebastian Bach
Trio G major, BWV (Anh. II) 1027/4a (transcriptopn of the 4th movement of BWV 1027)

c) Johann Sebastian Bach
Prelude and Fugue G minor, BWV 535

2nd Round

at the Silbermann organ in St. Mary’s Church Rötha (max. 20 min)
a) Georg Muffat (1653–1704)
Toccata octava
or
Toccata decima
from: Apparatus musico-organisticus
or
William Byrd (um 1540–1623)
Fantasia A minor
or
Johann Ulrich Steigleder (1593–1635)
Die 40. und letzte Variation auf Toccata Manier über »Das Vaterunser«
from: Tabulatur-Buch

b) Johann Sebastian Bach
Chorale preludes from the Neumeister Collection, BWV 1090–1095 and 1097–1120
(Selection of chorale preludes with contrasting characters, max. 8 min)

c) Johann Sebastian Bach
Fantasia G Major, BWV 571
at the Silbermann organ in St. George’s Church Rötha (max. 40 min)

d) Felix Mendelssohn Bartholdy (1809–1847)
Prelude and Fugue C minor, op. 37 No 1, MWV W 21 and 18
or
Prelude and Fugue D minor, op. 37 No 3, MWV W 23 and 13
or
Allegro [with Chorale and Fugue] D minor / D major, MWV W 33

e) Johann Sebastian Bach
Partite diverse sopra: O Gott, du frommer Gott, BWV 767
or
Partite diverse sopra: Ach, was soll ich Sünder machen, BWV 770

f) Johann Sebastian Bach
Prelude and Fugue F minor, BWV 534
or
Prelude and Fugue A major, BWV 536

g) Zsigmond Szathmáry (*1939)
Silberklänge (commissioned by the Bach Competition)
Download here.

Finals

at the »Bach« organ in St. Thomas’ Church Leipzig

a) Johann Sebastian Bach
Fantasia G major, BWV 572 (Pièce d’Orgue)
or
Prelude and Fugue D major, BWV 532

b) Johann Sebastian Bach
Einige canonische Veränderungen über das Weihnachtslied: Vom Himmel hoch da komm ich her, BWV 769
or
Einige canonische Veränderungen über das Weihnachtslied: Vom Himmel hoch da komm ich her, BWV 769a

c) Johann Sebastian Bach
Prelude and Fugue G minor, BWV 542
or
Prelude and Fugue B minor, BWV 544
or
Prelude and Fugue E minor, BWV 548

at the Sauer organ in St. Thomas’ Church Leipzig

d) Johann Sebastian Bach
Ich will bei meinem Jesu wachen
from: Matthäus-Passion, BWV 244
transcribed for organ by Robert Schaab (1817–1887)

e) Max Reger (1873–1916)
Passacaglia E minor
from: Suite E minor, op. 16
or
Passacaglia  F sharp minor
from: Sonate F sharp minor, op. 33 (first version)
or
Passacaglia F minor, op. 63 No 6

Specification of the organ 

Programme in the discipline voice

› With or without repeats according to the choice of the candidate. Stylistically idiomatic embellishment of the repeats according to the performing practice of the respective style period is expected.
› The works sung for the pre-selection may be repeated during the Competition. Within the Competition proper repetition of individual pieces is not permitted.
› The order of the pieces within a round is to be determined by the candidates and must be communicated in definitive form to the Competition office before the beginning of each round.
› It is not required that the candidates sing by memory.
› Transposition is allowed for songs only.
› Special weight will be placed upon mastery of German diction.

Pre-Selection

Candidates must present uninterrupted video recordings. Splices may be made between individual pieces, but not within a piece. Splices between recitativo and aria are not allowed.

a) Johann Sebastian Bach (1685–1750)
Recitativo and ensuing aria from a cantata or a passion

b) Johann Sebastian Bach
A song (three verses)
from: Die geistlichen Lieder und Arien aus Schemellis Gesangbuch, BWV 439–507

c) Carl Philipp Emanuel Bach (1714–1788)
A song

1st Round (max. 20 min)

with harpsichord (415’/440’) or portative organ (415’/440’)

a) Johann Sebastian Bach
A significant secco recitativo from a cantata or a passion

b) Johann Sebastian Bach
An aria from a cantata, a passion or the Christmas Oratorio

c) Georg Friedrich Händel (1685–1758)
A recitativo in English from:
Jephtha, HWV 70
or
Messiah, HWV 56
or
Samson, HWV 57

d) Georg Friedrich Händel
An aria in English from
Jephtha, HWV 70
or
Messiah, HWV 56
or
Samson, HWV 57

e) Johann Sebastian Bach
Two songs (three verses each)
from: Die geistlichen Lieder und Arien aus Schemellis Gesangbuch, BWV 439–507

f) Heinrich Schütz (1585–1672)
A concert
from: Kleine geistliche Konzerte, SWV 282–337

2nd Round (max. 45 min)

with harpsichord (415’/440’), portative organ (415’/440’) or piano (443’)

a) Johann Sebastian Bach
Soprano

Er hat uns allen wohlgetan – Aus Liebe will mein Heiland sterben, BWV 244/ 48–49
or
Qui tollis, BWV 233/4
Alto
Erbarm es Gott – Können Tränen meiner Wangen, BWV 244/51–52
or
Agnus Dei, qui tollis peccata mundi, BWV 232/22
Tenor
Mein Jesus schweigt – Geduld, Geduld, BWV 244/34–35
or
Benedictus qui venit, BWV 232/20
Bass
Ja freilich will in uns das Fleisch und Blut – Komm, süßes Kreuz, BWV 244/56–57
or
Quoniam tu solus sanctus, BWV 232/9a

b) Carl Philipp Emanuel Bach (1714–1788)
Soprano/Tenor/Bass
An aria
from: Die Israeliten in der Wüste, Wq 238
or
from: Magnificat D-Dur, Wq 215
Alto
An aria
from: Magnificat D-Dur, Wq 215

c) Wolfgang Amadeus Mozart (1756–1791)
An Italian aria from an opera

d) Programme of Lieder (15 to max. 20 min)
– An Italian solo madrigal by a female composer from the 17th century with the candidate’s own embellishments, e. g. Barbara Strozzi (1619–1677), Isabella Leonarda (1620–1704) or Francesca Caccini (1587– around 1641)
– A song by Johann Sebastian Bach from the second »Notenbuch für Anna Magdalena Bach«, BWV 508–518
– A complete sacred solo work by Johann Rosenmüller (around 1619–1684) or Dieterich Buxtehude (around 1637–1707)
– A song by Ludwig van Beethoven (1770–1827)
– A song by Fanny Mendelssohn (1805–1847) or Clara Schumann (1819–1896)
– A song by a female composer written after 1980, e. g. by Juliana Hall (*1958), Florentine Mulsant (*1962) or Camille van Lunen (*1957)

Finals

a) Johann Sebastian Bach
with harpsichord (415’/440’) or portative organ (415’/440’)
Recitativo and aria from a secular cantata (see list of choices)

b) Johann Sebastian Bach
with harpsichord (415’/440’) or portative organ (415’/440’)
Recitativo and aria from a sacred cantata (see list of choices)

c) Johann Sebastian Bach
with Baroque orchestra (415’)
Soprano
Mein Herze schwimmt im Blut, BWV 199
(Leipzig version, D minor)
Alto
Vergnügte Ruh, beliebte Seelenlust, BWV 170
Tenor
Ich armer Mensch, ich Sündenknecht, BWV 55
Bass
Ich habe genung, BWV 82

List of choices

Soprano
Sacred Cantatas
Wir beten zu dem Tempel an – Höchster, mache deine Güte, BWV 51/2–3
Gott ist mir ja nichts schuldig – Ich esse mit Freuden, BWV 84/2–3
Secular Cantatas
Was mir behagt, ist nur die muntre Jagd! – Jagen ist die Lust der Götter, BWV 208/1–2
Ja, ja! Gott ist uns noch mit seiner Hülfe nah – Durch die von Eifer entflammeten Waffen, BWV 215/6–7
Alto
Sacred Cantatas
So, wie der Hirsch nach frischem Wasser schreit – Mund und Herze steht dir offen, BWV 148/3–4
Der Glocken bebendes Getön – Wie starb die Heldin so vergnügt, BWV 198/4–5
Secular Cantatas
Ich nehm zugleich an deiner Freude teil – Reis von Habsburgs hohem Stamme, BWV 206/6–7
Augustus schützt die frohen Felder – Preiset, späte Folgezeiten, BWV 207a/6–7
Tenor
Sacred Cantatas
Der Höchste lässt mich seinen Willen wissen – Weiß ich Gottes Rechte, BWV 45/2–3
Wer sollte nicht in Klagen untergehn – Erholet euch, betrübte Sinnen, BWV 103/2 und 5
Secular Cantatas
Gefürcht’ter Äolus – Frische Schatten, meine Freude, BWV 205/4–5
Ach, Pan! Wie hast du mich gestärkt – Pan ist Meister, lasst ihn gehn, BWV 201/10–11
Bass
Sacred Cantatas
Tue Rechnung! Donnerwort – Jedoch, erschrocknes Herz, BWV 168/1 und 4
Die Knechtsgestalt, die Not, der Mangel – Bist du, der mir helfen soll, BWV 186/2–3
Secular Cantatas
Was hat dich sonst, Sarmatien, bewogen – Rase nur, verwegner Schwarm, BWV 215/4–5
Ja, ja! Die Stunden sind nunmehro nah – Wie will ich lustig lachen, BWV 205/2–3

Programme in the discipline violoncello/Baroque violoncello

› With or without repeats according to the choice of the candidate. Stylistically idiomatic embellishment of the repeats as well as the competitors own cadenzas according tor performing practice of the respective style period are expected.
› The works played for the pre-selection may be repeated during the Competition. Within the Competition proper repetition of individual pieces is not permitted.
› The order of the pieces within a round is to be determined by the candidates and must be communicated in definitive form to the Competition office before the beginning of each round.
› It is not required that the candidates play by memory.

Pre-Selection

Candidates must present uninterrupted video recordings. Splices may be made between individual pieces, but not within a piece. Splices between the movements of a suite are not allowed.

 

a) solo
Johann Sebastian Bach (1685–1750)

Suite G major, BWV 1007
or
Suite D minor, BWV 1008
or
Suite C major, BWV 1009
b) solo
Jean-Louis Duport (1749–1819)

Exercise 10
to be played with one violoncello (without repeats)

1st Round (max. 25 min)

a) solo
Johann Sebastian Bach

Prélude, Sarabande and two additional movemets, from:
Suite G major, BWV 1007
or
Suite D minor, BWV 1008
or
Suite C major, BWV 1009

b) with continuo violoncello (415’/443’)
Anton Kraft (1749–1820)

Allegro moderato
from: Sonata B flat major, op. 2 No 1
or
Moderato
from: Sonata G major, op. 2 No 2
or
Allegro brillante
from: Sonata C major, op. 2 No 3

2nd Round (max. 45 min)

a) solo
Johann Sebastian Bach

Suite G major, BWV 1007
or
Suite D minor, BWV 1008
or
Suite C major, BWV 1009

b) with fortepiano (415’) or piano (443’)
Ludwig van Beethoven (1770–1827)

Sonata C major, op. 102 No 1
or
12 Variations F major, op. 66
on »Ein Mädchen oder Weibchen« from the opera »Die Zauberflöte«, KV 620, by Wolfgang Amadeus Mozart (1756–1791)
or
12 Variations G major, WoO 45
on »See the conqu’ring hero comes« from the oratorio »Judas Maccabaeus«, HWV 63, by Georg Friedrich Händel (1685–1758)

c) mit Sopran und Cembalo (415’/443’)
Johann Sebastian Bach

One of the following arias:
Phoebus eilt mit schnellen Pferden, BWV 202/3
or
Mein gläubiges Herze, frohlocke, sing, scherze, BWV 68/2
A violoncello piccolo or a violoncello can be used (without the concluding ritornello)

Finals

a) solo
Johann Sebastian Bach

Suite E flat major, BWV 1010
or
Suite C minor, BWV 1011
or
Suite D major, BWV 1012

The Competition strongly urges that Bach’s prescriptions for the fifth/sixth suites (scordatura/five-string cello) be respected.

b) with orchestra (415’/443’)
Carl Philipp Emanuel Bach (1714–1788)
Concert A major, Wq 172
or
Jean-Louis Duport
Concert No 6 D minor (evaluation copy of the solo part, Musikverlag Martin Krämer: ISMN 979-0-50110-947-0)
or
Michael Haydn (1737–1806)
Concert B major, MH deest