Concert Artists Guild Victor Elmaleh Competition
“Winning the CAG Competition made our career.”
Matthew Albert, violin, Eighth Blackbird
Competition Winner (1998)
Musical America Ensemble of the Year (2017)
Chamber Music America inaugural Visionary Award Recipient (2017)
The Concert Artists Guild Victor Elmaleh Competition is an annual competition open to instrumentalists, singers, and chamber ensembles performing classical and non-traditional repertoire.
Applications for the 2017 Competition have closed.
The live Semifinal rounds of the Competition will be held in New York City from October 10-13.
The live Final round will take place at Merkin Concert Hall on Tuesday, October 17.
9:30am – 4:30pm
Free and open to the public
Conductor and Pianist, Artistic Director of New York Festival of Song and Moab Music Festival
Mary M. Briggs
President and CEO, Hilton Head Symphony Orchestra, SC
GRAMMY award-winning clarinetist and saxophonist, composer
President and CEO, Ravinia Festival
Conductor, Music Director of Columbus Symphony, Princeton Symphony, and the Chautauqua Institution
Pianist and Faculty, Manhattan School of Music
Cellist, Chamber Music Society of Lincoln Center Artist, and Faculty, Juilliard, Manhattan and Mannes Schools of Music
Violist, member of yMusic and Alarm Will Sound, and radio host, Q2
Director, Music Programming, Lincoln Center for the Performing Arts
Click here to join our mailing list and receive updates about the 2017 Competition.
Prizes and Awards
Victor and Sono Elmaleh First Prize of $5,000
All winners receive:
- Management Contract with CAG
- New York Debut Recital
Additional prizes include:
- BMI Commissioning Prize
- Chamber Music America Showcase Performance
- more than 40 Performance Prizes with leading orchestras, concert series and festivals
details are subject to change.
THE SUGGESTED AGE LIMIT FOR INDIVIDUALS is 30, and 35 for singers. Instrumentalists over 30 and singers over 35 must include a statement explaining why they consider themselves to be in the early stages of a professional career.
THE SUGGESTED AVERAGE AGE LIMIT FOR ENSEMBLES is 30 (including ensembles with one singer), and 35 for vocal ensembles. Ensembles with an average age higher than suggested must include a statement explaining why they consider themselves to be in the early stages of a professional career. No individual member of an instrumental ensemble may be aged over 35, and no individual member of a vocal ensemble may be aged over 40.
ENSEMBLES SHOULD HAVE BEEN IN EXISTENCE with the same membership for at least 12 months prior to the Competition.
NON-TRADITIONAL ENSEMBLES AND INSTRUMENTS are invited to apply. CAG welcomes a statement of purpose and information on repertoire and technical requirements, if appropriate.
SINGERS are invited to apply. CAG welcomes singers with a special interest in concert repertoire.
THE 2017 COMPETITION IS CLOSED TO THE FOLLOWING INSTRUMENTS/ENSEMBLES: solo guitar, solo clarinet, solo double bass, solo harpischord, early music fortepiano, organ, guitar duo, and two-piano duo. Four-hand piano duos may apply.
DUOS CONSISTING OF A SOLO INSTRUMENT WITH PIANO (such as violin and piano) should apply as an ensemble, but will be placed in the category of the solo instrument for judging. Applicants may choose their own collaborative artists for all rounds of the Competition.
INSTRUMENTALISTS WITH NORTH AMERICAN MANAGEMENT are not eligible. However, CAG is glad to work with existing managers who are handling engagements outside the US. Applicants with such management must arrange to have their managers submit a letter to CAG including the following statement: “[applicant] will be under management with [name of management] for the following territories: [list territories]. We understand that should [applicant] win the Concert Artists Guild Victor Elmaleh Competition, CAG will have exclusive management rights for the US.”
SINGERS WITH NORTH AMERICAN MANAGEMENT who wish to perform recitals, chamber music, and orchestral engagements through CAG are eligible to apply if the application is accompanied by a letter from the management to CAG with the following statement: “I hereby give permission and approval for [singer’s name] to enter the Concert Artists Guild Victor Elmaleh Competition and agree, without reservation, that should [singer’s name] be selected as a winner of the Competition, he/she would be represented exclusively by CAG for concert engagements.”
Repertoire should include music in a variety of styles and periods. No specific works or composers are required. Selections should demonstrate the applicant’s breadth of technical and artistic abilities. Musicians specializing in either contemporary, early, or non-traditional music must show programmatic diversity and technical scope. All applicants may repeat repertoire in subsequent rounds.
- Applicants must submit 30-45 minutes of music showing the range and scope of the applicant’s artistry. Audio recordings only.
- Include only complete movements or complete works (no excerpts).
- Concerti and other works with orchestra may be included; these works may also be performed with piano accompaniment, except for solo pianists.
- Singers should include songs in at least three languages. Singers may include up to two arias, but the primary focus of the repertoire should be songs.
- Vocal ensembles must include selections in at least three languages, one of which must be English.
LIVE SEMIFINAL ROUND
- Semifinalists will prepare 60-70 minutes of music and will be asked to perform selections from this.
- Please include complete works only, unless it is common and accepted practice to perform selected movements of the work (e.g., the Bach Chaconne or a selection of Chopin Preludes).
- All applicants must include at least one selection composed since 1990.
- Solo instrumentalists (except pianists) may include concertos, to be performed with piano accompaniment.
- Solo instrumentalists must include at least two major works — sonatas, concertos (except pianists) or other works of similar content and breadth. At least one major work must be performed from memory.
- Upon acceptance into the Semifinal Round, applicants will receive a Repertoire Sheet with detailed requirements to submit for that round.
- Repertoire from the Preliminary Round may be repeated in the Semifinal Round.
The Final Round will consist of an uninterrupted recital program approximately 20 minutes in length. The program may include complete works or movements from larger works. Repertoire from the Preliminary and Semifinal Rounds may be repeated in the Final Round. Finalists will also be asked to submit two or three sample concert programs and a concerto repertoire list, if appropriate. Although there will be a printed program, applicants are encouraged to speak briefly about their program to the audience.
Applicants are accepted to the Semifinal Round of the Competition on the basis of blind evaluations of the submitted audio recordings by independent judges. All applicants will receive written notification on advancement to the Semifinal Round in summer of 2017.
Winners or Finalists of other major competitions may request to proceed directly to the Semifinal Round. If you feel your competition record warrants such consideration, please include a statement of request in your application. Requests will be granted at the discretion of CAG staff.
Soloists must provide their own pianists, make all rehearsal arrangements, and pay fees. CAG can recommend qualified pianists and spaces for rehearsal in New York.
Competitors are responsible for their own and their accompanist’s travel and accommodation expenses.
Please contact firstname.lastname@example.org if you have questions about the application process.
“Winning the CAG Competition made our career. CAG found us gigs, gave us advice, provided a major commission and put us out into the world in a supportive but forceful way. CAG made us feel that a new music group had a viable opportunity to make a place for itself in the chamber music world of the twenty-first century.”
– Matthew Albert, violin, Eighth Blackbird (Competition Winner, 1998)
“Winning First Prize at the CAG Competition was a blessing without a disguise. I, and everyone since, have had the bountiful help of a thinking creative collective mind and a strategic pulse to perpetuate our careers and give us the initial boost we all so need.”
– Marina Piccinini, flute (Competition Winner, 1986)
“I consider winning CAG the pivotal point in my duo’s career, which gave us the opportunity to expand our artistry. CAG guided us with such great passion and expertise that built the foundation for our duo that continues to thrive ten years later.”
– João Luiz Rezende, Brasil Guitar Duo (Competition Winner, 2006)