THE 2018 submission period will be from January 1st to January 31st.
- an original work of chamber music composed after January 1st, 2012.
- a complete work – no single movements of multi-movement works will be accepted.
- work must be in its original form – no arrangements; example: no piece originally intended for string orchestra submitted as a string quintet will be accepted.
- between 7 and 12 minutes in duration.
- scored for 3 to 8 players (not including a conductor, if applicable).
- written for the following instruments: violin, viola, cello, double bass, flute, piccolo, oboe, english horn, b-flat clarinet, A clarinet, bass clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion.
- pieces scored for percussion must follow these additional guidelines.
- any combination of the above instruments is acceptable, however only two of the same instrument may be included; example: maximum of 2 flutes, 2 oboes, 2 percussionists, piano four hands, etc; with exceptions being a maximum of one tuba, one bass trombone. Works scored for up to 4 violins are acceptable. Works for two or more pianos are not acceptable.
- instrument doublings must adhere to the instrumentation restrictions, example: no alto flute, no contrabassoon.
- works may be written for amplified instruments, prepared piano, and off stage instruments.
- works may include non-interactive electroacoustic elements (e.g., CD playback).
The winning composers will also be invited to Lake George as “composers in residence” to work with the musicians performing their piece. Lodging and some meals will be provided free of charge. Attendance at the festival is encouraged but not required.
Several finalists will also be announced; these works will be kept in the LGMF music library for future programming considerations.
The 2017 results have been announced. Click HERE >>
Recent laureate of the Golden Classical Music Awards International Music Competition in NYC (August 2016), the Manhattan International Music Competition ( June 2016) and the Grand Prize Virtuoso Competition in Salzburg, Austria ( May 2016), violinist Barbora Kolářová is a visiting performing artist of the Malaysian Philharmonic Orchestra. As part of her recent prizes, Barbora joined the ‘Manhattan International Artists’ roster and starting in November 2016 will also collaborate with the Lincoln Center Stage and perform on the Holland America Line.
Currently in his first season as Assistant Conductor of the Pacific Symphony, Roger Kalia is also Music Director of the Pacific Symphony Youth Orchestra and Music Director & Co-Founder of the Lake George Music Festival in upstate New York. He previously spent two seasons as Assistant Conductor with the Charlotte Symphony. Kalia will lead the Pacific Symphony Youth Orchestra on their upcoming tour of China this summer with performances in Beijing’s National Concert Hall and Shanghai’s Oriental Arts Centre, among others.
David Ludwig is “a composer with something urgent to say” (Philadelphia Inquirer) whose music has been described as “arresting and dramatically hued” (The New York Times) and “supercharged with electrical energy and raw emotion” (Fanfare Magazine). Amongst his recent honors, Ludwig’s choral work, “The New Colossus” was selected as the opening music for the private prayer service for the second inauguration of President Obama. NPR Music recently selected him as one of the “Top 100 Composers Under Forty” in the world and last year he scored the feature film “Cymbeline” which won awards at the Venice Film Festival in 2014.
The music of Steven Snowden has been described as “Beguiling… combining force with clarity” (San Francisco Classical Voice), “Wonderfully dynamic” (Interlude Hong Kong), “Rustic, red-blooded” (New Music Box), and “Marvelously evocative” (Cleveland Plain Dealer). Writing music for dance, theater, multi-media installations, and the concert stage, he is equally at home writing acoustic and electro-acoustic music and has taken a keen interest in interdisciplinary collaboration and live electronic audio manipulation as a tool for improvisation.
32 submissions will be chosen to move on to the final round. The final round will be adjudicated anonymously by: TBA
Previous final round jury members have included Steven Mackey, Alan Pierson, Jennifer Higdon, Du Yun, David Lang, Donnacha Dennehy, and Libby Larsen.
HOW TO APPLY
The 2018 submission period will be from January 1st to January 31st. Please submit the following materials via ONE email with attachments to firstname.lastname@example.org. The subject line of the email should read “LGMF Composition Competition” followed by your full name.
- An anonymous .pdf file of the composition score. The score should be labeled with the title of the work and printed date of composition only. Multi-movement pieces should be submitted together as one joint .pdf file.
- An anonymous recording in mp3 format. Recordings must be complete (no excerpts) and must be labeled with the title of the work only and sent as an email attachment. Live instrumental recordings are strongly preferred over MIDI renditions. If submitting MIDI please take the time to create an audio file which sounds as realistic as is possible. Composers submitting a piece for electronics/amplified instruments must submit a live performance or studio recording (not MIDI). Multi-movement pieces should be submitted together as one joint .mp3 file. Please edit out any tuning/clapping.
- A PayPal receipt proving the application fee has been paid. Please pay application fee at the same time when submitting materials.
In the body of the email, please include the following information: composer name, date of birth, college or university affiliation, composer phone number,
All steps outlined above must be completed and submitted in their entirety by the deadline. No exceptions can be made whatsoever. If you wait until January 31st, we cannot guarantee any issues that arise during staff review, including missing or incorrect documents, will be resolved by the application deadline. Consequently, LGMF urges you to submit immediately.
$10 – Payment will be accepted via credit/debit card through PayPal by clicking the button below. PayPal accounts are not required. Application fee is not refundable, please review guidelines carefully.
ANSWERS TO FREQUENTLY ASKED QUESTIONS/OTHER INFORMATION
-Receipt of submissions and application fee will be acknowledged by return email.
-Scores or recordings submitted with composer identifying marks (e.g. full or partial name, dedications, affiliated institution, publisher, premiering ensemble/venue, commissioner etc.) will be immediately disqualified.
-Previously performed works are acceptable.
-Previous competition finalists re-applying must submit a different piece each year.
-Former students of the jury are eligible to participate, so long as they submit a piece unknown to the jury.
-Composers may submit a maximum of two (2) submissions, but must do so in separate emails and separate PayPal payments.
-International applicants, please translate all text to English.
-Scores/Recordings of pieces with multiple movements should be sent together as one file (do not submit individual movements separately).
-25 megabytes (MB) is the total combined maximum for all attachments. Large files that exceed 25MB (discouraged) may be sent as a Google Drive attachment or as a ZIP file.
-No third-party submission sites such as Dropbox or WeTransfer will be accepted.
-Please do not send any additional materials.
-Application materials must be submitted electronically; no postal mail submissions will be accepted.
-Due to the large number of submissions, feedback regarding individual submissions will not be given.
-The winning composers must agree to provide parts by June 1st, 2017 in order to guarantee a performance of their winning work.
-Submissions that do not strictly follow the guidelines, or are submitted before or after the submission period will be disqualified.
Any questions regarding the competition should be directed to competition administrator Alexander Lombard at email@example.com