Competition programme 2020

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)
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 1027 / Anh. II 046

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)
New work (commissioned by the Bach Competition)
The piece can be downloaded from the Competition website from December 15, 2019.
 

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

Specifications of the organs

Specification of the organ in the Chamber Music Hall of the University of Music and Theatre »Felix Mendelssohn Bartholdy« Leipzig
built by Patrick Collon, 1998
 

Manual II – Grand Orgue
Bourdon 16’ (from c)
Montre 8’
Bourdon 8’
Prestant 4’
Flûte 4’
Quinte 2 2/3’
Doublette 2’
Tierce 1 3/5’
Quinte 1 1/3’
Cornet III
Fourniture III
Trompette 8’
 

Manual I – Positif
Bourdon 8’
Prestant 4’
Nasard 2 2/3’
Doublette 2’
Tierce 1 3/5’
Larigot 1 1/3’
Cymbale II
Cromorne 8’
 

Pédale
Soubasse 16’
Flûte 8’
Flûte 4’
Fourniture V
Bombarde 16’
Trompette 8’
 

Accessories
Coupler Positif to Pédale
Coupler Grand Orgue to Pédale
Tremulant
stop for short octave Grand Orgue and Pédale
3 diagonal bellows

Temperament
type: after Werckmeister III (1691)
 

Compass
Grand Orgue C–d3 (divided into bass/treble c1/cis1)
Positif C–d3
Pédale C-f1

 

 

Specification of the organ in St. Mary’s Church Rötha
built by Gottfried Silbermann, 1722

Manual
Principal 8’
Gedackt 8’
Octava 4’
Rohrflöte 4’
Nassat 2 2/3’
Octava 2’
Tertia 1 3/5’
Quinta 1 1/3’
Sifflet 1’
Cymbel 2-fach
Tremulant
 

Pedal
Subbass 16’
 

Accessories
Pedalkoppel
 

Temperament
type: unequal (1/6 syntonic comma)
pitch: a1= approx. 465 Hz
 

Compass
Manual: C, D–c3
Pedal: C, D–c1 

 

Specification of the organ in St. George’s Church Rötha
built by Gottfried Silbermann, 1721

I. Manual (Hauptwerk/Great Organ)
Bordun 16’
Principal 8’
Rohrflöte 8’
Octava 4’
Spitzflöte 4’
Quinta 2 2/3’
Octava 2’
Cornet III (from c1)
Mixtur III
Cymbel II
 

II. Manual (Oberwerk/Swell Organ)
Gedackt 8’
Quintadena 8’
Principal 4’
Rohrflöte 4’
Nassat 2 2/3’
Octava 2’
Tertia 1 3/5’
Quinta 1 1/3’
Sifflet 1’
Mixtur III
 

Pedal
Principalbass 16’
Posaune 16’
Trompete 8’
 

Accessories
Tremulant
Coupler OW/HW
Coupler HW/P (coupler stop since 1796, permanently coupled until 1796)

Temperament
type: equal (since 1832)
pitch: a1 = 465 Hz

Compass
Manuals: C, D–c3
Pedal: C, D–c1
 

 

Specification of the »Bach« organ in St. Thomas’ Church Leipzig
built by Gerald Woehl, 2000

Manual I: Brustwerk
Grob Gedackt 8’
Klein Gedackt 4’
Principal 2’
Super Gemßhörnlein II
Quint-Sexta II
Sieflit 1’
 

Manual II: Hauptwerk/Great Organ
Bordun 16’
Principal 8’
Violdagamba 8’
Rohrflöth 8’
Quinta 6’
Octav 4’
Nassatquint 3’
Superoctav 2’
Queerflöth 2’
Sesquialtera III
Mixtur VI
Cimbel III
Fagott 16’
Trombetta 8’
 

Manual III: Oberwerk/Swell Organ
Quintaden 16’
Principal 8’
Gedackt 8’
Gemßhorn 8’
Flauta doux 8’
Octav 4’
Hohlflöth 4’
Hohlquint 3’
Superoctav 2’
Plockflöth 2’
Sesquialtera III
Scharff V
Vox Humana 8’
Hautbois 8’
Glockenspiel
Tremulant
Plenum Wind
 

Manual IV – Unterwerk/Choir Organ (Echo)
Barem 16’
Still Gedackt 8’
Quintaden 8’
Principal 4’
Nachthorn 4’
Spitzflöth 4’
Spitzquint 3’
Octav 2’
Schweitzerflöth 2’
Rauschquint 1 1/2’
Superoctävlein 1’
Cimbel III
Regal 8’
 

Pedal
Großer Untersatz 32’
Principal 16’
Violon 16’
Sub Bass 16’
Octav 8’
Gedackt 8’
Quintaden 8’
Superoctav 4’
Bauerflöth 1’
Mixtur VI
Posaun Bass 32’
Posaun Bass 16’
Trombet 8’
Cornet 2’
 

Accessories
Couplers OW-HW, UW-HW, HW-P,OW-P
Tremulant on the whole organ
Zimbelsterne (loud)
Zimbelsterne (soft)
Vogell Geschrey
Coupler on the whole organ
4 diagonal bellows

Temperament
type: unequal, Neidhardt system (Leipzig temperament?)

Compass
pitch: a1 =  approx. 466 Hz
Manuals: C–f3
Pedal: C–f1

pitch: a1 =  approx. 415 Hz
Manuals: CD–f3
Pedal: CD–f1

 

Specification of the Sauer organ in Thomaskirche Leipzig
built by Wilhelm Sauer, 1886–1889

Manual I
Principal 16’
Bordun 16’
Principal 8’
Geigenprincipal 8’
Viola di Gamba 8’
Gemshorn 8’
Dulciana 8’
Doppelfloete 8’
Flûte harmonique 8’
Flauto dolce 8’
Gedackt 8’
Quintatön 8’
Quinte 5 1/3’
Octave 4’
Gemshorn 2’
Rohrfloete 4’
Violini 2’
Octave 4’
Rauschquinte II
Mixtur III
Cornett II–IV
Scharf V
Groß-Cymbel IV
Trompete 16’
Trompete 8’
 

Manual II
Salicional 16’
Gedackt 16’
Principal 8’
Schalmei 8’
Salicional 8’
Harmonica 8’
Dolce 8’
Flûte harmonique 8’
Konzertfloete 8’
Rohrfloete 8’
Gedackt 8’
Octave 4’
Salicional 4’
Flauto dolce 4’
Quinte 2 2/3’
Piccolo 2’
Cornett III
Mixtur III
Cymbel III
Tuba 8’
Clarinette 8’
 

Manual III
Lieblich Gedackt 16’
Gamba 16’
Principal 8’
Viola 8’
Aeoline 8’
Voix céleste 8’
Spitzfloete 8’
Flûte d’amour 8’
Gedackt 8’
Gemshorn 8’
Quintatön 8’
Fugara 4’
Traversfloete 4’
Praestant 4’
Quinte 2 2/3’
Flautino 2’
Harmonia aetheria III
Oboe 8’
Trompette harmonique 8’
 

Pedal
Majorbass 32’
Untersatz 32’
Contrabass 16’
Principal 16’
Violon 16’
Gemshorn 16’
Subbass 16’
Salicetbass 16’
Lieblich Gedackt 16’
Quintbass 10 2/3’
Offenbass 8’
Principal 8’
Cello 8’
Gemshorn 8’
Bassfloete 8’
Dulciana 8’
Octave 4’
Flauto dolce 4’
Contraposaune 32’
Posaune 16’
Fagott 16’
Trompete 8’
Clarine 4’
 

Accessories
Couplers (manuals): II/I, III/I, III/II
Couplers (pedal): I/P, II/P, III/P
Mezzoforte, Forte, Tutti, Rohrwerke
Piano-, mezzoforte-, forte- and tutti pedal with cancellation button
Hand registration from 3 freely adjustable combinations
register crescendo with cancellation button
swell box for the 3rd manual
 

Temperament
type: equal
pitch: a1 = 440 Hz

Compass
Manuals: C–a3
Pedal: C–f1

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

off