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Обмен информацией о музыкальных конкурсах и их обсуждение / Конкурсы композиторов, дирижеров / MASTERPRIZE (London)

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The Masterprize rules, jury composition and judging criteria and procedures have been endorsed by our Artistic Director, Mariss Jansons.


Masterprize was conceived as a catalyst to bring listeners and composers closer together. Our aim is to encourage classical music enthusiasts to listen more to new music and to help living composers find a large international audience.

There are no age or geographical restrictions on entry.
If the work has been performed by a professional orchestra, it will only be eligible if this performance took place after 31 December 2001.
Works will be ineligible if they have been entered for previous Masterprize competitions. However, the fact that a piece has been entered in or won any other competition will not render it ineligible.

The Competition is for works for symphony orchestra which, based on the composer’s metronomic or tempo marking, will normally have a duration of between 6 and 15 minutes. In principle, any entry which does not fall within these time limits will automatically be disqualified. Masterprize may however, at its absolute discretion, accept entries which fall very marginally outside these time limits.
Works should be scored for normal symphonic forces with a maximum of 90 and a minimum of 50 players, selected from the following section maxima:

60 strings = 16 firsts, 14 seconds, 12 violas, 10 cellos, 8 basses
12 woodwind = 3 flutes with doubling on piccolos and altos if required, 3 oboes with one doubling cor anglais if required, 3 clarinets with one doubling E-flat or bass if required, 3 bassoons with one doubling contra if required
11 brass = 4 horns, 3 trumpets, 3 trombones, 1 tuba
timpani plus 3 other percussion players
1 piano/celeste
1 harp

Orchestration may be enlarged by one additional instrument or one doubling, e.g. a second harp, or one of the existing flutes doubling a bass flute. Compositions should not include any kind of electronic keyboards or amplification requirements. If composers do not use all the orchestra as stated above, they still may not have more than one different additional instrument.
The submitted work should not incorporate works for voice, and should feature the orchestra as a whole and not solo instruments in a concerto-style form.

Entrants can only make one entry. If any entrant makes more than one entry, or supplies personal information which is false or incomplete, he or she will be disqualified.
Each entrant will be asked to submit the following four entry materials in a single package:

Entry form
Entrants are required to complete, sign and date the Entry Form, and attach it to the front cover of their score. The Entry Form will be available on this site from April 2005. If you would like to be added to the mailing list to receive an Entry Form or an email bulletin confirming when the Entry Form is available on the site then please complete the following enquiry form or send an email to

Entrants are required to enclose a recent passport size photograph of themselves.

The submitted work should be in the form of a conductor’s score. Orchestral parts should not be sent.

The title of the Work must appear on the front cover of the score.

The entrant’s name and contact details should not appear on any page of the score.

Each page of the score should be numbered, together with an indication of the total number of pages (e.g. with a 50 page manuscript, pages should be marked 1/50, 2/50, 3/50 etc.)

The score must be clearly legible. Any score which Masterprize judges to be insufficiently legible will be disqualified.

Entrants must submit an analogue cassette-tape or CD of the Work with their score. This may be a recording of a full-length performance or of excerpts, and may take the form of a full orchestral performance or partial version, e.g. a piano reduction or synthesised recording. The Work will not be judged on the quality of the recording submitted. It is required purely as a guide for the judges. However, entrants are advised to submit the best quality recording available.
The entrant’s name should not appear on or in the recording.

On receipt of the entry materials, Masterprize will allocate each entrant an entry number. Entrants will receive an acknowledgement of receipt, together with their entry number, by post or email.
Scores and recordings will not be returned, so entrants should ensure that they have retained a copy.


Works will be scrutinised by an international selection panel of judges. This will consist primarily of conductors, general managers of major orchestras who have been professional musicians, and distinguished classical record producers.
The judges will see only the scores and recordings as marked with the entry numbers; the entrants will not otherwise be identified.
Each work will be examined by four members of the Initial Panel. Any work which receives a commendation from any one of the judges will proceed to be examined by all members of the Initial Panel, and be awarded a number of points by each member.
The 10 Works which receive the highest aggregate number of points will go forward to the next stage.
The 10 entrants whose Works are selected for the Shortlist will be notified by 1 March 2006.
Masterprize will not announce the names of entrants who are not selected for the Shortlist.
Orchestral parts for Shortlisted Works

Following notification of selection, it will be the responsibility of the entrants of the Shortlisted Works to generate and supply orchestral parts in a timely manner and at the entrants’ own expense.
In the case of entrants who are contracted to a publisher in respect of the Work, it will be the responsibility of those entrants to ensure that their publisher generates and makes available orchestral parts in a timely manner and at the publisher’s own expense.
In the case of entrants who are not contracted to a publisher in respect of the Work or who cannot produce the orchestral parts themselves, Masterprize will on request assume responsibility for creating the parts. Such entrants will have the option either of reimbursing Masterprize for the cost which Masterprize thereby incurs or of entering into an exclusive publishing agreement with Masterprize for the Work only and for a limited time.
Recordings of Shortlisted Works

Where a recording of commercial quality of a Shortlisted Work exists and Masterprize elects to use that Recording then the entrant of that Work should use best efforts to make available the Recording for multiple international broadcasts and reproduction as part of the Masterprize process. This will include, in the case of the Shortlisted Work being selected for the Final (see "Stage Two" below), the CD covermount on the October 2006 issues of Gramophone and Classic FM Magazine as well as any other entity to which Masterprize licenses the Recording for distribution as a covermount CD or otherwise in conjunction with the sale of any printed publication or through the Masterprize website in connection with the operation of Masterprize, all in connection with the Competition.
Shortlisted Works of which recordings of commercial quality do not exist (in Masterprize’s sole opinion) will be recorded by orchestras selected by Masterprize. Composers of these Shortlisted Works will be invited to attend the rehearsal and recording of their Work, but at their own expense.
Broadcasts of Shortlisted Works

Recordings of all Shortlisted Works will be broadcast by Classic FM and by other participating radio stations from April 2006.
Recordings of all Shortlisted Works will be streamed in full on the Masterprize website ( from April 2006 until the Gala Concert in October 2006.

At this stage the selection panel will be expanded to comprise three sections:
the Initial Panel,
distinguished international musicians appointed by Masterprize (past members have included Vladimir Ashkenazy, Andrew Davis, Vladimir Fedoseyev, Riccardo Muti, Kent Nagano and Mstislav Rostropovich), and
nominees from participating radio stations.
This Panel will examine the Shortlisted Works; again, each member will award points individually. The five Works which receive the highest aggregate number of points will go forward to the final judging stage.

Broadcasts of Final Works

The Recordings of the five Final Works will be distributed as a CD with the October 2006 editions of Gramophone and Classic FM Magazine and possibly other printed publications. The CD will be accompanied by a voting form.
The Recordings of the five Final Works will also be streamed in full on the voting page of the Masterprize website ( from mid-September 2006, where an on-line voting facility will be available.
From approximately September to October 2006 Classic FM and other participating radio stations will broadcast the Recordings of the five Final Works an equal number of times.
Gala Concert October 2006

The Final Works will be performed by the London Symphony Orchestra, conducted by Daniel Harding, at the Barbican Centre, London (date to be announced) in the presence of a live audience and the Final Jury made up of a panel of distinguished musicians. Past Final Jury members have included Marin Alsop, Vladimir Ashkenazy, Christoph von Dohnanyi, Sir John Eliot Gardiner, Thomas Hampson, John Harle, Gidon Kremer, Jon Lord, Emmanuel Pahud, Sir Charles Mackerras and Sir George Martin. This concert will be broadcast on Classic FM and a network of international broadcast partners, and simulcast on
For the five finalists Masterprize will provide air travel to and from London for the Gala Concert and hotel accommodation for two nights, if required.
Voting procedure and selection of the winner

The following four voting sectors will select the winner:

Worldwide Public: during September and October 2006 members of the public will be invited to select a single preferred Work by using the voting forms supplied with the Gramophone and Classic FM Magazine CD covermount, the on-line voting facility on, or the phone-in voting facilities offered by participating radio stations. These votes will be computed but the results will not be announced.

LSO: following the last rehearsal for the Gala Concert in October 2006, a ballot will be held among members of the LSO and computed in the same way as the Worldwide Public vote. Again, the result will not be announced.

Gala Concert Audience: at the end of the Gala Concert, members of the audience will be invited to vote individually for their single preferred Work. They will not be made aware of the result of either the Worldwide Public or the LSO vote.

Final Jury: at the end of the Gala Concert, the members of the Final Jury will cast votes individually in writing. They will not be made aware of the results from any of the other three voting sectors.

The selection of the winner will be by the combined weighted vote of the four voting sectors. The number of votes for each Final Work will be expressed as a percentage of the overall vote for each sector.

LSO: 10% Worldwide Public: 45%
Final Jury: 40% Gala Concert Audience: 5%
Total: 50% 50%

For example:

Work A receives votes as follows:

Worldwide public: 26%
LSO: 7%
Gala Concert Audience: 20%
Final Jury: 18%

whilst Work B receives:

Worldwide public: 24%
LSO: 57%
Gala Concert Audience: 15%
Final Jury: 17%

Based on the above weighting, the overall scoring of these two works translates as follows:

Work A:
Worldwide Public: 26 x 0.45 = 11.7%
LSO: 7 x 0.1 = 0.7%
Gala Concert Audience: 20 x 0.05 = 1%
Final Jury: 18 x 0.4 = 7.2%

Work B:
Worldwide public: 24 x 0.45 = 10.8%
LSO: 57 x 0.1 = 5.7%
Gala Concert Audience: 15 x 0.05 = 0.75%
Final Jury: 17 x 0.4 = 6.8%

Therefore, the total combined percentage of votes for Work A is:
11.7%+7.2%+0.7% + 1% = 20.6%
whilst Work B receives:
10.8%+6.8%+5.7%+.0.75% = 24.05%

The winner is the Work with the highest combined percentage — i.e. Work B in this example.


The winner will receive £25,000. The other four finalists will each receive £1,000.
If you would like to receive a copy of the final rules and entry form as soon as they are ready then please click here

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