Competition programme 2024 and application

Programme in the discipline Organ

› With or without repeats according to the choice of the candidate. Stylistically idiomatic embellishment of the repeats as well as the competitor’s own cadenzas according to the 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 candidate 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 movements of a work are not allowed.


a) Johann Sebastian Bach (1685–1750)
Allegro [3rd movement]
from: Sonata C major, BWV 529
or
Allegro
from: Sonata G major, BWV 530

b) Johann Sebastian Bach
Nun komm der Heiden Heiland, BWV 659.2

c) Johann Sebastian Bach
Fugue G minor, BWV 542/2
or
Fugue A minor, BWV 543.2/2

1st Round

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


a) Nicolaus Bruhns (1665–1697)
Prelude E minor (The ›Great‹)
or
Dieterich Buxtehude (1637–1707)
Toccata D minor, BuxWV 155
or
Toccata F major, BuxWV 156

b) Johann Sebastian Bach
Trio super: Herr Jesu Christ, dich zu uns wend, BWV 655

c) Johann Sebastian Bach
Concerto A minor, BWV 593
or
Concerto D minor, BWV 596

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
Prelude and Fugue A minor, BWV 551

 

at the Silbermann organ in St. George’s Church in 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 [App B 38]
or
Prelude and Fugue A major, BWV 536

g) Zsigmond Szathmáry (*1939)
Silberklänge (commissioned by the Bach Competition)
sheet music here
 

Finals

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


a) Nicolas de Grigny (1672–1703)
Hymnus: Ave Maris Stella
Plein Jeu – Fugue à 5 – Dialogue sur les grands Jeux
oder
Hymnus: Pange Lingua
Plein Jeu en taille à 4 – Fugue à 5 – Récit du chant de l’hymne précédent

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 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
or
O Mensch, bewein dein Sünde groß
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
 

Dispositions

Collon organ in the chamber music hall of the University of Music and Drama
Silbermann organ in St. Mary’s Church Rötha
Silbermann organ in St. George’s Church Rötha
Bach organ in St. Thomas Church Leipzig
Sauer organ in St. Thomas Church Leipzig

Programme in the discipline Voice

› 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. For pre-selection, all pieces listed for the respective voice have to be recorded.


Johann Sebastian Bach (1685–1750)
Soprano
Zerfließe, mein Herze, in Fluten der Zähren, BWV 245/35
Unsre Stärke heißt zu schwach, BWV 14/2
Ich freue mich auf meinen Tod, BWV 82.2/5          
Verzeiht, bemooste Häupter starker Ströme, BWV 206/8
Alto
Es ist vollbracht, BWV 245/30
Ach, bleibe doch, mein liebstes Leben, BWV 11/4
Fromme Musen! meine Glieder!, BWV 214/5
Die Freude wird zur Traurigkeit, BWV 26/3
Tenor
Ach, mein Sinn, wo willst du endlich hin, BWV 245/13
Ich traue seiner Gnaden, BWV 97/4
So schnell ein rauschend Wasser schießt, BWV 26/2
Wenn alles sich zur letzten Zeit entsetzet, BWV 127/2
Bass
Eilt, ihr angefocht’nen Seelen, BWV 245/24
Betrachte, meine Seel, BWV 245/19
Gold aus Ophir ist zu schlecht, BWV 65/4
Starkes Lieben, BWV 182/4
Siehe, ich stehe vor der Tür, BWV 61/4


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) Liedprogramm (15 bis 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) or Lucrezia Oraina Vizzana (1590–1662)
- 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’) or portative organ (415’)
Recitativo and aria from a secular cantata (see list of choices)

b) Johann Sebastian Bach
with harpsichord (415’) or portative organ (415’)
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 199.3
(Leipzig version, D minor)
Alto
Vergnügte Ruh, beliebte Seelenlust, BWV 170
Tenor
Ich armer Mensch, ich Sündenknecht, BWV 55
Bass
Ich habe genung, BWV 82.1
 

List of choices

Soprano
Secular Cantatas
Was mir behagt, ist nur die muntre Jagd! – Jagen ist die Lust der Götter, BWV 208.1/1–2
Ja, ja! Gott ist uns noch mit seiner Hülfe nah – Durch die von Eifer entflammeten Waffen, BWV 215/6–7
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
Alto
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 207.2/6–7
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
Tenor
Secular Cantatas
Gefürcht’ter Äolus – Frische Schatten, meine Freude, BWV 205.1/4–5
Ach, Pan! Wie hast du mich gestärkt – Pan ist Meister, lasst ihn gehn, BWV 201/10–11
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 and 5
Bass
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 205.1/2–3
Sacred Cantatas
Tue Rechnung! Donnerwort – Jedoch, erschrocknes Herz, BWV 168/1 and 4
Die Knechtsgestalt, die Not, der Mangel – Bist du, der mir helfen soll, BWV 186/2–3
 

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 to 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
or
Michael Haydn (1737–1806)
Concert B flat major, MH deest

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