Chamber Music Institute

July 9 – August 4, 2018

Coletti Pappone

Applications for the 2018 Academy are now closed.


Application Deadline: January 29, 2018


The Chamber Music Institute for piano and strings welcomes individuals and pre-formed ensembles for intensive coaching sessions, rehearsals, and performances. The focus is on learning through performance. With limited enrolment, participants work with distinguished international faculty in an intimate, collegial atmosphere and will be placed in chamber groups with at least one artist Mentor per group.

Performance opportunities are paramount to this program and selected Fellows will have the opportunity to perform at outreach concerts in the community as well as at weekly Chamber Music reGENERATION Concerts that are a part of the Toronto Summer Music Festival.

All accepted applicants will receive a full fellowship covering tuition. Housing will be provided for participants attending from outside of the Greater Toronto Area if necessary. Note: transportation is not included in the fellowship

*Returning Participants: Please note that starting in 2018, participation in the Academy is limited to two summers. Applicants who have participated in the Academy prior to 2018 are invited to reapply for one more summer.


2018 Chamber Music Institute Mentors       


Borodin QuartetBorodin Quartet
Ruben Aharonian & Sergei Lomovsky, violins
Igor Naidin, viola
Vladimir Balshin, cello

For more than seventy years, the Borodin Quartet has been celebrated for its insight and authority in the chamber music repertoire. Revered for its searching performances of Beethoven and Shostakovich, the Quartet is equally at home in music ranging from Mozart to Stravinsky.

Described by the Daily Telegraph Australia as “the Russian grand masters”, the Borodin Quartet’s particular affinity with Russian repertoire is based on constant promotion, performances and recording of the pillars of Russian string quartet music – Borodin, Tchaikovsky and Shostakovich, as well as Glinka, Stravinsky, Prokofiev and Schnittke. The Quartet is universally recognised for its genuine interpretation of Russian music, generating critical acclaim all over the world; the Frankfurter Allgemeine Zeitung writes about them “here we have not four individual players, but a single sixteen-stringed instrument of great virtuosity”.

In addition to performing quartets, the Borodin Quartet regularly joins forces with other distinguished musicians to further explore the chamber music repertoire. Their partners have included Sviatoslav Richter, Yuri Bashmet, Michael Collins, Mario Brunello, Elisabeth Leonskaja, Christoph Eschenbach, Boris Berezovsky, Denis Matsuev and Nikolai Lugansky. The Quartet also regularly receives invitations to give masterclasses, and to serve as jury members at major international competitions.


NOSQNew Orford String Quartet
Jonathan Crow & Andrew Wan, violins
Eric Nowlin, viola
Brian Manker, cello

Four musicians with equally stellar pedigrees formed the New Orford String Quartet with the goal of developing a new model for a touring string quartet.  Their concept – to bring four elite orchestral leaders together on a regular basis over many years to perform chamber music at the highest level – has resulted in a quartet that maintains a remarkably fresh perspective while bringing a palpable sense of joy to each performance. The Toronto Star has described this outcome as “nothing short of electrifying.”

Consisting of the concertmasters and principal cellist and violist of the Montreal, Detroit, and Toronto Symphonies, the New Orford String Quartet has seen astonishing success, giving annual concerts for national CBC broadcast and receiving unanimous critical acclaim, including two Opus Awards for Concert of the Year, and a 2017 JUNO Award for Canada’s top Chamber Music Recording. Recent seasons have featured return engagements in Chicago, Montreal and Toronto, as well as their New York City debut on Lincoln Center’s Great Performers series.

The New Orford is dedicated to promoting Canadian works, both new commissions and neglected repertoire from the previous century. Each New Orford String Quartet project has included performances of a major Canadian string quartet from the 20th century including works by Glenn Gould, Sir Ernest MacMillan, Jacques Hétu, R. Murray Schafer, and Claude Vivier, as well as commissioning new works from composers such as Francois Dompierre, Gary Kulesha, Airat Ichmouratov and Tim Brady. The Quartet thrives on exploring the rich chamber music repertoire; recent collaborations include those with pianists Marc-André Hamelin and Menahem Pressler.



SLSQ Photo: Marco BorggreveScott St. John, violin

Scott St. John lives in London, Canada with his wife Sharon Wei and daughter Julia. Scott was a member of the St. Lawrence String Quartet and faculty member at Stanford University for seven years, from 2006 – 2013. From 1999 – 2006, Scott was Associate Professor of Violin at University of Toronto, and founded the Felix Galimir Chamber Music Award for U of T students.

Currently Scott is Concertmaster of the ROCO Chamber Orchestra in Houston, Texas. He coaches chamber music at Western University (Canada), and participates in the prestigious Marlboro Music Festival (Vermont). Scott is a partner in the new Rebelheart Collective at London’s Aeolian Hall, an innovative chamber orchestra and youth mentorship program connected with the El Sistema movement.

Scott began his violin studies at age three with Richard Lawrence, in London. He is a graduate of the Curtis Institute of Music where he studied violin with David Cerone, Arnold Steinhardt, and chamber music with Felix Galimir. Current non-musical activities include serving on the boards of the London Organic Food Co-op and Transport Action Canada. Scott also supports HanVoice, a lobby organization for North Korean refugees in Canada.


Yehonatan BerickYehonatan Berick, violin/viola

Prizewinner at the 1993 Naumburg competition and a recipient of the 1996-97 Prix Opus, Yehonatan Berick is in high demand internationally as soloist, recitalist, chamber musician, and pedagogue. Performances as soloist include Quebec, Winnipeg, Jerusalem, Haifa Symphonies, The Israeli Camerata, the Israeli, Montreal, Cincinnati, and Manitoba Chamber Orchestras. Recital offering include the complete Paganini Caprices (which can be seen on a BluRay dvd), and the complete Solo Sonatas and Partitas by Bach. He has collaborated with many world renowned artists. Festival and chamber series include Marlboro, Ravinia, Seattle, and Ottawa. He tours extensively worldwide, and is featured in the world’s most important venues, including Carnegie Hall and Wigmore Hall. His CD recordings for various labels have won rave reviews in the press. Equally sought after as violin teacher and chamber music mentor for over two decades, Berick serves as Professor of Violin at the University of Ottawa. He has been invited as teacher and artist-in-residence at many festivals, and is featured in masterclasses worldwide. His students hold leading positions in major orchestras, ensembles, and music schools worldwide. Yehonatan Berick currently plays a 1761 violin by Carlo Ferdinando Landolfi, generously on loan from the University of Ottawa.


Alexander Kerr 2Alexander Kerr, violin

Alexander Kerr’s expressive and charismatic style has made him one of the most accomplished and versatile violinists on the international music scene today. In 1996 at the age of 26, Mr. Kerr was appointed to the prestigious position of Concertmaster of the Royal Concertgebouw Orchestra in Amsterdam, the Netherlands. After nine successful years at that post, he left in June, 2006 to assume the endowed Linda and Jack Gill Chair in Music as Professor of Violin at the Indiana University Jacobs School of Music. In addition to his teaching responsibilities in Bloomington, he maintains a busy concert schedule appearing with orchestras and in recital and chamber music performances throughout the U.S., Asia and Europe. In 2008 he began his tenure as Principal Guest Concertmaster of the Indianapolis Symphony Orchestra and in September 2011, he assumed his role as Concertmaster of the Dallas Symphony Orchestra.

An active chamber musician, Mr. Kerr has collaborated with Martha Argerich, Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Yefim Bronfman, Edgar Meyer, Truls Mørk, Menahem Pressler, Vadim Repin, Alisa Weilerstein, Kim Kashkashian and Maxim Vengerov in performances at festivals in Aspen, Santa Fe, Caramoor, La Jolla, Stavanger, and throughout Spain, Portugal, Turkey, Switzerland, Austria and the Netherlands. He has recently launched a collaboration with cellist Eric Kim and the Dorothy Richard Starling Foundation, showcasing the enormous wealth of talent at the Indiana University Jacobs School of Music. The “Starling Chamber Players,” a mixture of faculty and students will tour chamber music venues throughout the nation.

Raised in Alexandria, Virginia, Mr. Kerr began his studies at age seven with members of the National Symphony Orchestra. He went on to study with Sally Thomas at the Juilliard School, and with Aaron Rosand at the Curtis Institute of Music where he received his Bachelor of Music degree in 1992.


Barry ShiffmanBarry Shiffman, violin

Violinist and violist Barry Shiffman is well-respected as a musician, educator and administrator. He was co-founder of the St. Lawrence String Quartet (SLSQ), and since 2010 has been  both the Associate Dean and Director of Chamber Music at the Glenn Gould School and Director  of the Phil and Eli Taylor Performance Academy for Young Artists at The Royal Conservatory of Music .

During his 17 years with the SLSQ he appeared in over 2,000 concerts in venues around the globe, and recorded several critically acclaimed discs under an exclusive contract with EMI Classics. While in SLSQ, Shiffman served as artist-in-residence at Stanford University from 1998 to 2006 and as visiting artist at the University of Toronto from 1995 to 2006.

He has also served in numerous roles at the Banff Centre, including Director of Music Programs (2006-2010), Artistic Director of the Centre’s Summer Classical Music Programs (2010-2016), and since 2006  Executive Director of the Banff International String Quartet Competition.  During his tenure at The Banff Centre he introduced new programming in classical music performance, composition, popular music and jazz and oversaw the dramatic growth of The Banff International String Quartet Competition (BISQC). From 2009-2017, he was Executive Artistic Director of Music in the Morning Concert Society in Vancouver.

He has recently been appointed as Artistic Director of Rockport Music in Massachusetts, overseeing all classical programming for the organization including a five week summer chamber music festival.

He received his formal studies at the Royal Conservatory in Toronto, University of Toronto, Utrecht Conservatory, Hartt School of Music, Juilliard School and Yale University. Summer studies included The Banff Centre, Tanglewood and Aspen.



Steve-Dann-Reduced Steven Dann, viola

Steven Dann was born in Vancouver, Canada. His foremost teacher and mentor was the late Lorand Fenyves. Upon graduation from university he was named Principal Viola of the National Arts Centre Orchestra in Ottawa, Canada, a position he has subsequently held with the Tonhalle Orchestra in Zurich, the Royal Concertgebouw Orchestra in Amsterdam, the Vancouver Symphony and the Toronto Symphony Orchestra. Steven Dann has collaborated as a soloist with such Maestri as Sir Andrew Davis, Rudolph Barshai, Jiri Belohlavek, Sir John Elliott Gardiner, JukkaPekka, Saraste and Vladimir Ashkenazy. Since 1990 Mr. Dann has been a member of the Smithsonian Chamber Players in Washington D.C. and was a founding member of the Axelrod String Quartet. He is currently violist of both the Zebra Trio (with violinist Ernst Kovacic and cellist Anssi Karttunen) and Toronto’s twice Grammy-nominated ARC Ensemble. Steven Dann teaches viola and chamber music at the Glenn Gould School in Toronto’s Royal Conservatory of Music and is the Coordinator of the chamber music program at the Domaine Forget in Quebec. Mr. Dann plays a viola of Joseph Gagliano, circa 1780.



Julie AlbersJulie Albers, cello

American cellist Julie Albers is recognized for her superlative artistry, her charismatic and radiant performing style and her intense musicianship. She was born into a musical family in Longmont, CO and began violin studies at the age of two switching to cello at four. She moved to Cleveland during her junior year of high school to pursue studies through the Young Artist Program at the Cleveland Institute of Music where she studied with Richard Aaron. At the age of 17 she made her major orchestral debut with the Cleveland Orchestra and thereafter has performed in recital and as soloist with orchestras throughout North America, Europe, Korea, Taiwan, New Zealand and Australia. Julie has received various awards including the Grand Prize in South Korea’s Gyeongnam International Music Competition and Second Prize in Munich’s Internationaler Musikwettbewerbes der ARD.

In addition to solo performances Julie participated in a three year residency with the Chamber Music Society of Lincoln Center Two and regularly appears at chamber music festivals around the world. In 2015 Julie was appointed the new principal cello of the Saint Paul Chamber Orchestra. In addition she is Assistant Professor and holds the Mary Jean and Charles Yates Cello Chair at the McDuffie Center for Strings at Mercer University in Macon, Georgia. Julie has recorded a solo album with pianist, Orion Weiss and a trio album with the Albers Trio


Ani-Aznavoorian-ReducedAni Aznavoorian, cello

The Strad magazine describes cellist Ani Aznavoorian as having “Scorchingly committed performances that wring every last drop of emotion out of the music. Her technique is well-nigh immaculate, she has a natural sense of theater, and her tone is astonishingly responsive.” Ms. Aznavoorian is in demand as a soloist and chamber musician with some of the most recognized ensembles, and she has appeared with many of the world’s leading orchestras including the Chicago Symphony Orchestra, the Boston Pops, the Tokyo Philharmonic, the Helsinki Philharmonic, the Finnish Radio Symphony, the International Sejong Soloists, the Belgrade Philharmonic, the Juilliard Orchestra, and the Edmonton Symphony. This season marks Ms. Aznavoorian’s eleventh year as principal cellist with Camerata Pacifica.

In addition to performing, teaching plays an important part in Ms. Aznavoorian’s career. She has been a member of the distinguished music faculty at the University of Illinois in Champaign/Urbana, and in the summers has served on the faculty of the Great Mountains Music Festival in South Korea. Ms. Aznavoorian enjoys performing new music and has made the world premiers of many important pieces in the cello repertoire. Some of these include Ezra Laderman’s Concerto No. 2 with the Colorado Springs Philharmonic under the baton of Lawrence Leighton Smith, Lera Auerbach’s “24 Preludes for Cello and Piano” on stage at the Hamburg Staatsoper with the Hamburg State Ballet-choreographed by John Neumeier, and Lera Auerbach’s “Dreammusik” for Cello and Chamber Orchestra, which was written for her and commissioned by Camerata Pacifica. In addition to return engagements at chamber music festivals around the globe, this season will include a debut concert tour of Armenia, the country of her ancestors. Ms. Aznavoorian records for Cedille Records, and she proudly performs on a cello made by her father Peter Aznavoorian in Chicago.


Jeffrey BeecherJeffrey Beecher, bass

Jeffrey Beecher pursues a varied musical career as both an energetic performer and educator.He performs as Principal Bass with the Toronto Symphony Orchestra and serves as the Co-Artistic Director of the Silkroad Ensemble and on the faculty of the Glenn Gould School of the Royal Conservatory of Music. Jeffrey tours frequently with the Silkroad Ensemble, performing in major venues of North America, Europe, the Middle East, and Asia. In addition to performing, Mr. Beecher has participated in residencies around the world, including work at Harvard University, the University of California Santa Barbara, the Getty Center, the Rietberg Museum, and the Aga Khan Museum. He appears on several recordings, including Off the Map, A Playlist Without Borders, the

He performs as Principal Bass with the Toronto Symphony Orchestra and serves as the Co-Artistic Director of the Silkroad Ensemble and on the faculty of the Glenn Gould School of the Royal Conservatory of Music. Jeffrey tours frequently with the Silkroad Ensemble, performing in major venues of North America, Europe, the Middle East, and Asia. In addition to performing, Mr. Beecher has participated in residencies around the world, including work at Harvard University, the University of California Santa Barbara, the Getty Center, the Rietberg Museum, and the Aga Khan Museum. He appears on several recordings, including Off the Map, A Playlist Without Borders, the Grammy winning Sing Me Home, as well as in the documentary film The Music of Strangers.

As an orchestral musician, Jeffrey has performed as Principal Bass with the Royal Concertgebouw Orchestra, with the Philadelphia Orchestra, the Minnesota Orchestra, the Detroit Symphony, and the Orchestra of St. Luke’s. An active chamber musician, Mr. Beecher has enjoyed performing at the Chamber Music Society of Lincoln Center, Bargemusic, Weill Recital Hall, Zankel Hall, and the 92nd Street Y. He has also performed at numerous festivals from the Bridgehampton Chamber Music Festival to the Marlboro Music Festival.

Jeffrey began his musical education in New York where he attended the Juilliard School of Music and the Manhattan School of Music. He completed his studies at the Curtis Institute of Music with Harold Robinson and Edgar Meyer. Jeffrey plays on two double basses: an Italian bass made by Giovanni Battista Rogeri in Brescia, Italy in 1690; and a French bass made by Jean-Baptiste Vuillaume in Paris, France in 1850.



Lukas Geniusas 2Lukas Geniusas, piano

Born in Moscow in 1990, Lukas Geniusas started piano studies at the age of 5 at the preparatory department of F. Chopin Music College in Moscow, going on to graduate with top honours in 2008. His most recent victory, and one of the most important, is the Silver Medal at the XV Tchaikovsky Competition in Moscow in 2015.

Lukas has appeared with numerous orchestras including the Toronto Symphony, Orchestre Philharmonique de Radio France, NHK Symphony Orchestra, St Petersburg Philharmonic, Kremerata Baltica, Russian National Orchestra, Mariinsky Theatre Orchestra, Warsaw Philharmonic, and the City of Birmingham Symphony Orchestra, under the batons of conductors such as Valery Gergiev, Mikhail Pletnev, Charles Dutoit, Andrey Boreyko, Saulius Sondeckis, Dmitry Sitkovetsky, Antoni Wit, Rafael Payare, and Dmitry Liss, to name but a few. His international career has taken Lukas to prestigious venues and festivals throughout the world, including the Rheingau, Ruhr and Lockenhaus Music Festivals, La Roque D’Antheron, Piano aux Jacobins, the Auditorium du Louvre and Wigmore Hall, as well as to major concert halls in Russia and South America.

In the 2017/18 season he returns to the La Roque D’Antheron and Verbier festivals and performs début recitals at Frick Collection in New York and Schloss-Elmau Festival. Important forthcoming engagements also include performances with Alexander Vedernikov and Odense Philharmonic Orchestra, recitals in Tokyo Bunka-Kaykan and Macau.

Lukas’ musical interests are extensive and he explores a wide range of repertoire, from the Baroque to works by contemporary composers. His repertoire spans from Beethoven Piano Concerti through to Hindemith’s ‘Ludus Tonalis’ Cycle, as well as a strong interest in Russian repertoire such as Tchaikovsky, Rachmaninov and Prokofiev. Lukas is an avid chamber musician. He is an extremely inquisitive performer and enjoys working on new works by modern composers, as well as resurrecting rarely performed repertoire.


Natasha ParemskiNatasha Paremski, piano

With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique.

The 2017-18 season sees Natasha’s return recitals at the Wigmore Hall and Istanbul Resitalleri, as well as a return to North Carolina Symphony, Oregon Symphony to play Prokofiev 2nd Piano Concerto with Carlos Kalmar, Winnipeg Symphony, Colorado Symphony, Columbus Symphony, and her debut with Kansas City Symphony. In addition, her recording of Fred Hersch’s Variations on a Theme by Tchaikovsky – commissioned for her by the Gilmore Festival – will be released on the Steinway & Sons label alongside Mussorgsky’s Pictures at an Exhibition.

Natasha is a regular return guest of many major orchestras, including Minnesota Orchestra, San Francisco Symphony, Grant Park Festival, Winnipeg Symphony, Kitchener-Waterloo Symphony, Oregon Symphony, Elgin Symphony, Colorado Symphony, Buffalo Philharmonic, Virginia Symphony, and Royal Philharmonic Orchestra with whom she has performed every year since 2008 in venues such as Royal Albert Hall, Royal Festival Hall, and Cadogan Hall. She has performed with major orchestras in North America including Dallas Symphony Orchestra, Los Angeles Philharmonic Orchestra, San Diego Symphony, Toronto Symphony, Baltimore Symphony, Houston Symphony, NAC Orchestra in Ottawa, Nashville Symphony. She has toured extensively in Europe with such orchestras as Bournemouth Symphony Orchestra, Vienna’s Tonkünstler Orchester, Royal Scottish National Orchestra, Orchestre de Bretagne, the Orchestre de Nancy, Royal Liverpool Philharmonic Orchestra, Tonhalle Orchester in Zurich, Moscow Philharmonic, under the direction of conductors including Peter Oundjian, Andres Orozco-Estrada, Jeffrey Kahane, James Gaffigan, Dmitri Yablonski, Tomas Netopil, JoAnn Falletta, Fabien Gabel, Rossen Milanov and Andrew Litton. In addition, she has toured with Gidon Kremer and the Kremerata Baltica in Latvia, Benelux, the United Kingdom and Austria as well as appearances with National Taiwan Symphony Orchestra in Taipei.

A passionate chamber musician, Natasha is a regular recital partner of Grammy winning cellist Zuill Bailey, with whom she has recorded a number of CDs. Their Britten album on Telarc debuted at No. 1 on the Billboard Classical Chart, remaining there for a number of weeks, in addition to being featured on The New York Times Playlist. Their French recital record is due for release in fall 2018 on the Steinway & Sons label. She has been a guest of many chamber music festivals such as Jeffrey Kahane’s Green Music Center ChamberFest, the Lockenhaus, Sitka Summer Music, and Cape Cod Chamber Music festivals to name a few.


Pedja Muzijevic 1Pedja Muzijevic, piano

Pianist Pedja Muzijevic has defined his career with creative programming, unusual combinations of new and old music, and lasting collaborations with artists and ensembles. Pedja’s symphonic engagements include performances with the Atlanta Symphony, Dresden Philharmonic, Milwaukee Symphony, New Jersey Symphony, Orquesta Sinfonica in Montevideo, Residentie Orkest in The Hague, St. Paul Chamber Orchestra, Santa Fe Pro Musica, Shinsei Nihon Orchestra in Tokyo, and the Zagreb Philharmonic. He has played solo recitals at Alice Tully Hall in New York, Mostly Mozart Festival Little Night Music series and The Frick Collection in New York, Irving S. Gilmore International Keyboard Festival in Kalamazoo, MI, Terrace Theater at Kennedy Center, Dumbarton Oaks and National Gallery in Washington, DC, Casals Hall and Bunka Kaikan in Tokyo, Teatro Municipal in Santiago de Chile, Da Camera of Houston, for Arizona Friends of Chamber Music in Tucson, Lane Series at University of Vermont, Spoleto USA, Verbier, Bay Chamber Concerts, Aldeburgh Festival in Great Britain, and many others. His Carnegie Hall concerto debut playing Mozart Concerto K. 503 with Oberlin Symphony and Robert Spano was recorded live and has been released on the Oberlin Music label.

Pedja’s many festival engagements encompass, among others, performances at Tanglewood, Spoleto USA, Ravinia, Mostly Mozart, Newport, OK Mozart, Bridgehampton, Bay Chamber and Maverick Concerts, San Miguel de Allende, Aldeburgh, Lucerne, Holland, Melbourne, Aix-en-Provence, Dubrovnik, Merano and Bratislava Festivals.

Pedja Muzijevic was born in Sarajevo, Bosnia and Herzegovina and studied piano with Vladimir Krpan at the Academy of Music in Zagreb. He came to the United States in 1984 to continue his education at the Curtis Institute of Music in Philadelphia and Juilliard School in New York. His mentors included pianists Joseph Kalichstein and Jerome Lowenthal, harpsichordist Albert Fuller and violinists Robert Mann and Joel Smirnoff.



Cheng master-9

“I love the fact that we the ‘Mentors’ play with the ‘Fellows’, rather than just listen to them and coach them.  I am putting Mentors and Fellows in quotation marks because, when it comes to playing music, we are all equals – music lovers who spend time trying to find the best way to share the music with listeners.”

– Pedja Muzijevic, piano (TSM Academy Mentor)

How to Apply

Applications for the 2018 Academy are now closed.

Materials Required

  1. One‐page biography (If applying as a pre-formed ensemble, please also include short bios of each group member).
  2. Photograph (Colour)
  3. List of current repertoire
  4. List of works that the individual wishes to be coached on and/or perform at Toronto Summer Music (If applying for The Chamber Music Institute these must be works for Chamber Ensemble and if applying for The Art of Song program these works must be Art Song).
  5. Non-refundable application fee of $75 (plus HST) for individuals  or $100 (plus HST) for pre-formed duos/ensembles
  6. Digital Video Recordings should be 20-30 minutes long and include at least 2 selections in contrasting style and character.  (see Audition Recording Requirements below)

Audition Requirements

  1. String players and pianists can apply as individuals or as a pre-formed chamber ensemble.
  2. Digitalvideo only, submitted asyoutubelink. Please ensure your video is marked either public or unlisted (only available to those you share it with) so the audition panel is able to view it.
  3. The digital video recording should include a minimum of two works or excerpts from works in contrasting style and character
  4. The repertoire does not have to be the same as that to be proposed for performance in the Academy program
  5. The recording submitted by chamber ensembles must be of the entire ensemble
  6. The recording submitted by individual artists must be a solo recording
  7. The applicant must include a document listing the name of the ensemble or individual, date and location of the recording, as well as works performed with timings
  8. Recordings are the primary adjudication tool and should be of the highest possible audio quality
  9. Each movement must be completed in one take with no editing

Please contact us at if you have any questions regarding the application process.


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