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New for 2019 

6th Manchester International Concerto Competition for Young Pianists

August 21st - 27th 2019

The sixth competition will be for pianists aged 22 and under on 1 August 2019.  A complete and unedited video or audio recording of ANY piano concerto must be submitted via the online application form by 4 June 2019. Multiple entries from a single applicant are welcome but each  submitted concerto requires a separate application and fee. 

The first round performances and recordings can include a compete performance of ANY piano concerto from memory. If selected for the semi-final stages the pianist must choose a concerto from the set list HERE

 Applications must include a reference from a professional musician of standing to verify that the recording was indeed live and made without any editing.

No more than 18 performers
will be accepted for the semi-final round of the competition, which will take place in the Stoller Hall, Chethamís school of Music on 22nd and 23rd  August 2019.  Semi-finalists will be required to perform their complete concerto from memory with a second piano accompaniment of the orchestral part.  Official accompanists will be available, though all candidates may if they so choose opt to use their own accompanists.

A maximum of 6 semi-finalists will be selected by the jury to perform their chosen concerto in its entirety in the final of the competition. The finals will take place from 19.00hrs in the Stoller Concert Hall, Chethamís School of Music on the 25th and 26th August, with the outstanding Manchester Camerata and conductor Stephen Threlfall.

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Young Pianists Advice Auditions

At the end of each week of the course it will be possible for young pianists to book a personal advice audition with the Head of Keyboard, Murray McLachlan or a member of the keyboard staff from Chetham's School of music. This will provide an opportunity to receive immediate professional feedback on their playing and musical ability. If you are considering applying to Chethamís, this will provide an opportunity to ask questions abut the school and the different options available.

Aural Training Course

What use is skill in aural to a musician? Can being able to identify pitches within a scale help one to play any more musically? What about harmony and keys? Does it make any difference if one can identify a modulation to the dominant at a hundred paces? Or a cadence? And surely rhythm is no more than learning a pattern by heart and then copying it?

This course hopes to help pianists to think more musically, to develop musical awareness and to develop that critical facility, the Ďinner earí. Ultimately all these things help a player to interpret music with more understanding and imagination. Or to put it another way, to turn automatons into poets.

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