The Cliburn

2015 Junior Competition Rounds & Repertoire

First Cliburn International Junior Competition and Festival

June 21-28, 2015
Ed Landreth Auditorium and PepsiCo Hall, TCU
Fort Worth, Texas USA


AUDITION

All applicants had to submit a video of 15 to 20 minutes in length. It was to include a virtuosic etude, the first movement of a Classical sonata, and a lyrical work, using the repertoire requirements provided for the Competition Preliminary and Quarterfinal Rounds. Works performed in the screening videos were able to be repeated during the Competition rounds. The video had to be filmed with both the pianist’s face and hands in the frame at all times. Recordings were able to be paused between each repertoire selection. Each work on the video had to be a continuous and unedited performance. Videos could not be filmed more than six months prior to submissions.

 

The 2015 Junior Competition consisted of four rounds:


PRELIMINARY ROUND

Each of 23 pianists performed a recital not to exceed 20 minutes in length. The recital had to include:

  • the first movement of a Classical sonata (sonatas may be played in their entirety as well) selected from any Haydn sonata, any Mozart sonata, or one of the first 12 Beethoven sonatas (op. 1 – op. 26).
  • a virtuosic etude selected from the following:

CHOPIN Etude in C Major, op. 10, no. 1
CHOPIN Etude in A Minor, op. 10, no. 2
CHOPIN Etude in C-sharp Minor, op. 10, no. 4
CHOPIN Etude in G-flat Major, op. 10, no. 5 (“Black Key”)
CHOPIN Etude in F Major, op. 10, no. 8
CHOPIN Etude in C Minor, op. 10, no. 12 (“Revolutionary”)
CHOPIN Etude in F Minor, op. 25, no. 2
CHOPIN Etude in G-sharp Minor, op. 25, no. 6
CHOPIN Etude in D-flat Major, op. 25, no. 8
CHOPIN Etude in B Minor, op. 25, no. 10 (“Octave”)
CHOPIN Etude in A Minor, op. 25, no. 11 (“Winter Wind”)
CHOPIN Etude in C Minor, op. 25, no. 12 (“Ocean”)
LISZT Transcendental Etude No. 4 “Mazeppa”
LISZT Transcendental Etude No. 5 “Feux follets”
LISZT Transcendental Etude No. 7 “Eroica”
LISZT Transcendental Etude No. 8 “Wilde Jagd”
LISZT Transcendental Etude No. 10 in F Minor
LISZT Transcendental Etude No. 12 “Chasse-neige”
LISZT Concert Etude No. 2 “La leggierezza”
LISZT Concert Etude No. 3 “Un sospiro”
LISZT Paganini Etude No. 3 “La campanella”
LISZT Paganini Etude No. 6 in A Minor

The remainder of the program was chosen by the pianist.


QUARTERFINAL ROUND

Each of 12 pianists performed a recital not to exceed 30 minutes in length. The recital had to include:

  •  a three- or four-voice Bach Prelude and Fugue from the Well-Tempered Clavier, Book I or II
  • a lyrical work written by Brahms, Chopin, Mendelssohn, Schubert, or Schumann (similar to a nocturne, intermezzo, or song without words).

The remainder of the program was chosen by the pianist. Repertoire from the Preliminary Round was not allowed to be repeated.


SEMIFINAL ROUND

The Semifinal Round was held in two phases.

PHASE I: Each of six pianists performed a recital not to exceed 40 minutes in length. The recital had to include one work written after 1950. The remainder of the program was chosen by the pianist. Repertoire from the Preliminary and Quarterfinal Rounds were not allowed to be repeated.

PHASE II: Each of six pianists performed the first movement of the concerto submitted for the Final Round with piano accompaniment. The Cliburn provided an accompanist.


FINAL ROUND

Each of three pianists performed a concerto with the Fort Worth Symphony Orchestra, under the direction of Maestra Mei-Ann Chen. The pianist was able to choose any work scored for symphony orchestra and piano. The choice was subject to approval by Cliburn and conductor.


RULES RELATING TO REPERTOIRE

  1. Total performance times were to include applause and pauses, and were strictly enforced. The jury retained the right to stop a performance if the pianist exceeded the allotted time.
  2. All works had to be performed in their entirety. Separate movements of larger works were accepted but had to be performed in their entirety. Repeats were at the discretion of the pianist.
  3. If requested, the pianist was to supply a copy of the edition of the score used in preparation of each work performed to the jury.
  4. Changes in submitted repertoire or running order could be made only with permission of the Cliburn. No changes were accepted after May 1, 2015. Any proposed changes had to include timings.

Our Mission

It is the mission of the Cliburn to advance classical piano music throughout the world. Its international competitions, education programs, and concert series embody an enduring commitment to artistic excellence and the discovery of young artists.

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The Cliburn is a not-for-profit organization governed by a board of directors, elected for a four year term. It is sustained by the generous support from individuals, foundations, corporations, the tireless efforts of volunteers, and embraced by the community of Fort Worth. The Van Cliburn International Piano Competition is a proud member of the World Federation of International Music Competitions.

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