VALENTINO BUCCHI PRIZE YEAR 2011 34th edition

PROGRAM () Eliminatory Round Competitors must perform two pieces, by different authors, one to be chosen from Group A; Obligatory piece: -V. Bucchi, Concerto lirico per violino e archi, reduction for violin and (edition Premio Valentino Bucchi 1993, Via Ubaldino Peruzzi 20, 00139 Roma); -One piece for violin solo, chosen by the candidate, written and published in the 20th or 21st century, by a of a same nationality as that of the candidate. Participants must send three copies of this composition with the request to enter the competition. Group A: C. Debussy, Sonate pour violon et piano (Durand, Paris orPeters, London); P. Hindemith, Sonate für Violine allein Op. 31 n. 1 orn. 2 (Schott’s Söhne, Mainz); E. A. Ysaye, Sonate pour violon seul, Op. 27, n. 3 orn. 6 (Schott Frères, Bruxelles). N.B. - The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. Semifinal Round Participants must perform three pieces by different authors, chosen among the following ones: one from Group A, one from Group B, and one from Group C. Group A: B. Bartók, Sonate pour violon et piano n. 1 orn. 2 (Universal, Wien); B. Britten, Three pieces for Violin and Piano, from Suite Op. 6 (Boosey & Hawkes, London); L. Dallapiccola, Due studi per violino e pianoforte (Suvini Zerboni, Milano); F. Martin, Sonate, violon et piano, 1931/32 (Universal, Wien); B. Martinu, Sonate pour violon et piano (Salabert, Paris); O. Messiaen, Thèmes et variations pour violon et piano (Leduc, Paris); F. Pires, Sonatina per violino e pianoforte (Curci, Milano), chosen by: Ministry of Culture of Portugal; S. Prokofiev, Sonata n. 1 orn. 2 Violin and Piano (Anglo-Soviet Music Press, c/o Boosey & Hawkes, London); M. Ravel, Sonate pour violon et piano (Durand, Paris); M. Reger, Suite im alten Stil, für Violine und Klavier Op. 93 (Peters, London); A. Schoenberg, Phantasy for Violin with Piano accompaniment, Op. 47 (Peters, London); I. Stravinskij, Suite italienne pour violon et piano (Edition Russe de Musique, Boosey & Hawkes, London); I. Zeljenka, Sonata for Violin and Piano, chosen by: Slovensky Hudobny Fond, Bratislava 1993. Group B: a piece for violin solo, to be chosen by the candidate, written and published in the 20 th or 21st century by a composer of a different nationality as that of the candidate. Participants must send threecopies of this composition with the request to enter the competition. Group C: F. Agsteribbe, Partita per violino solo, chosen by: Flemish Community of Belgium; B. Bettinelli, Monologo per violino solo, 1986, chosen by: Ed. Curci, Milano; P. Bozzi, Meta-Kitsch per violino solo, 1986, chosen by: Ed. mus. Pizzicato, Udine; F. Donatoni, Argot. Due pezzi per violino, 1979 (Ricordi, Milano); G. Ferrari, Improvvisazioni per violino solo (Zanibon, Padova); C. Halffter, Sonata per violino solo, Op. 20, chosen by: Ed. Universal, Wien; H. W. Henze, Sonata per violino solo: Tirsi, Mopso, Aristeo (Schott’s Söhne, Mainz); A. Honegger, Sonate pour violon seul (Salabert, Paris); H. Jelinek, Sonata für Violine allein, Op. 27 (Modern, München); A. Kaciaturian, Sonata Monologo per violino solo, 1976 (H. Sikorski, Hamburg); F. Kreisler, Recitativo und Scherzo - Caprice, Op. 6 (Schott’s Söhne, Mainz, 1911, reprint 1939); B. Maderna, Pièce pour Yvry (1971) per violino solo (Ricordi, Milano); D. Matthews, Three Studies for solo Violin, Op. 39, chosen by: Faber Music, London; C. Nielsen, Praeludium und Thema mit Variationen für Violine solo, Op. 48 (Peters, London); P. Papadatos, Braarmarapha for Violin solo, chosen by: Ministry of Culture of Greece; C. Pascal, Sonate pour violon seul, chosen by: Ed. Combre, Paris; K. Penderecki, Cadenza (Schott’s Söhne, Mainz) 1989; V. Persichetti, Sonata for solo violin, Op. 10 (Elkan - Vogel, Inc., Bryn Mawr, Pa) 1956; G. Petrassi, Elogio per un’ombra per violino solo (Suvini Zerboni, Milano); H. Pousseur, Flexions III per violino solo, (Suvini Zerboni, Milano, 1979) S. Prokofiev, Sonate für Violine solo, Op. 115 (H. Sikorski, Hamburg); C. Prosperi, White jazz per violino solo (Suvini Zerboni, Milano); E. Rautavaara, Variétude, violino solo, Op. 82 (Fazer, Helsinki); M. Reger, Praeludium und Fuge (a moll) für Violine allein (Bote & G. Bock, Berlin 1909, reprint 1940); F. Resch, Cadenz solo violin, chosen by: Ed. Rugginenti, Milano; A. Schnittke, A Paganini per violino solo (H. Sikorski, Hamburg) 1983; S. Sciarrino, Sei capricci per violino solo (Ricordi, Milano); P. Sculthorpe, Irkanda I for Violine alone, chosen by: Faber Music, London; I. Stravinskij, Elégie violino solo (Chappell & Co., Inc., New York) 1945; J. Vella, Monologo in tre parti per violino solo, Op. 32, chosen by: Ministry of Culture of Malta; I. Xenakis, Mikka “s” violon solo (Salabert, Paris); B. A. Zimmermann, Sonate für Violine solo, 1951 (Schott, Mainz) - or a piece for solo violin to be chosen by the candidate, written and published in the first half of the 20thcentury, not performed in other rounds. Participants must send threecopies of this composition with the request to enter the competition. N.B. - The candidates must perform the above- mentioned compositions, entirely or in part at the discretion of the jury. Final Round Participants must perform three pieces, by different authors, one to be chosen from Group A: one from Group Band obligatory: V. Bucchi: Concerto lirico per violino e archi (Premio Valentino Bucchi, Via U. Peruzzi, 20 - 00139 Roma), the same of the eliminatory round. Group A: I. Stravinskij, Duo concertant pour violon et piano (Edition Russe de Musique, Boosey & Hawkes, London); M. Ravel, Tzigane Rapsodie de concert pour violon et piano (Durand, Paris). Group B: B. Bartók, Sonata for solo Violin (Boosey & Hawkes, London); E. Ysaye, Sonate Op. 27 pour violon seul n. 1, or 2, or 4 or 5 (Schott Frères, Bruxelles) or a piece for violin solo, written and published after 1950 or of the 21stcentury, also unpublished, to be chosen by the candidate, not performed in other rounds. Participants must send threecopies of this composition with the request to enter the competition. N.B The candidates must perform the above-mentioned three compositions, entirely or in part at the discretion of the jury. The editions are advisable but not compulsory. 5b.

PROGRAM () Eliminatory Round Competitors must perform three pieces by different authors, one to be chosen from Group A. Obligatory pieces: - V. Bucchi, Soliloquios, monodramma per viola solo(edition Premio Valentino Bucchi 1992, Via Ubaldino Peruzzi 20, 00139 Roma); - one piece for viola solochosen by the candidate, written and published in the 20thor 21st century, by a composer of the same nationalityas that of the candidate. Participants must send threecopies of this composition with the request to enter the competition. Group A: B. Britten, Lachrymae, Op. 48 for Viola and Piano (Boosey&Hawkes, London); P. Hindemith, Sonate für Viola allein, Op. 11 n. 5 orOp. 25 n. 1 (Schott’s Söhne, Mainz); A. Kaciaturian, Sonata per viola sola (Hans Sikorski, Hamburg). N.B. - The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. Semifinal Round Participants must perform three pieces, by different authors, chosen among the following ones: one from Group A, one from Group B, and one from Group C. Group A: B. Bartók, Viola Concerto postuma - Viola and Piano reduction (Boosey & Hawkes, London); B. Bettinelli, Due movimenti per viola e pianoforte (Zanibon, Padova); C. Carneyro, Khroma para viola e piano (revisão de François Broos), (Sociedade Portuguesa de Autores, Lisboa), chosen by: Ministry of Culture of Portugal; J. Charpentier, Couleurs pour une sonate imaginaire pour alto et piano, chosen by: Ed. Leduc, Paris; G. Dávid, Pezzo per viola con accompagnamento per pianoforte (Ed. Musica, Budapest); G. Enesco, Konzert Stück für Viola und Piano (Enock, Paris); P. Hindemith, Der Schwanendreher, Konzertmusik, Op. 48, Viola and Piano reduction (Schott’s Söhne, Mainz); A. Honegger, Sonate pour alto et piano, 1920 (Salabert, Paris); D. Milhaud, 4 visages pour alto et piano, 1946 (Heugel, Paris); W. Walton, Concerto in A for Viola and Piano (Oxford, University Press). Group B: a piece for viola solo, to be chosen by the candidate, written and published in the 20 th or 21st centuryby a composer of a different nationalityas that of the candidate. Participants must send threecopies of this composition with the request to enter the competition. Gruppo C: T. Antoniou, Lament for Walter for solo viola, 1997 (Philippos Nakas Music House); V. Babayan, Sonata for viola sola, Op. 127, Bucarest, 1940; I.Baran, Bir Bölümlü Sonatina (Sonatine en un mouvement) Ankara, 1969; L. Berio, Sequenza VI per viola sola, chosen by: Ed. Universal, Wien; B. Britten, Elegy for Solo Viola, chosen by: Faber Music, London; S. Bussotti, Nudo disteso (una cadenza per viola), 1980; A. Clementi, Variazioni per viola sola (Suvini Zerboni, Milano); C. Coppens, viola sola, Une semaine de bonté, dedicato a Max Ernst, chosen by: Flemish community of Belgium; P.Costantinescu, Sonata Bizantina pentru viola sola, F. Donatoni, Ali, tre pezzi per viola sola (Ricordi, Milano); F. Druzhinin, Sonata per viola sola (1961) G. Ferrari, Improvvisazione per viola sola (Boccaccini & Spada, Roma) 1979; D.Hallmann, Ballata virtuosità für viola sola, (Peters, Leipzig), 1984; M. Jarrell, ...Some leaves II... (Lemoine, Paris); A.Jolivet, Cinq Eglogues pour alto seul (G.Billaudot, Paris), 1967, 3 at least; M. Kugel, Prelude “Ysaye” for viola solo (Alain van Kerckhaven Editeur) 1999; M.Lavista Cuaderno de Viaje, 2 piezas para viola, 1989; G. Ligeti, Sonata per viola sola (1991-1994); B. Maderna, Viola (o viola d’amore) (1971) (Ricordi, Milano); F. Mannino, Sonata per viola sola, chosen by: Ed. Curci, Milano; P. Merkù, Alba per viola sola, chosen by Ed. mus. Pizzicato, Udine; V. Micheenko, Fantasia for viola sola (A. Sheestiperov &. Co., Saint.Petersburg, 2000; S. Minami, Flash Organism - a per viola solo,(Zen-OnMusic CO., Ltd), 2000; J. Nordin, Ma-Xia för solo viola (Svensk Musik, Stockolm) 1997; K. Penderecki, Cadenza per viola (Schott, London); G. Petrassi, Viola sola (Suvini Zerboni, Milano); E. Petrovics, Rapsody n. 2 for viola (Editio Musica Budapest), 1984; E. Polo, Studi-Sonate, Sonata n. 3 (Suvini Zerboni, Milano); H. Pousseur, Flexions IV per viola sola (Suvini Zerboni, Milano), 1980; M. Radulescu, Suonata für Bratsche solo (Doblinger, Wien), 1987; M. Reger, Suite per viola sola, Op. 131 n. 2 (Peters, London); T. Salter, Declamation solo viola (Usk Edition, London) 2002; T. Salva, Balada per viola sola, chosen by: Slovensky Hudobny Fond, Bratislava, 1981; M. Savikangas, Extraterrestrial for Viola Solo (Uusinta Publ.Co. Ltd., 2001); R. Silvestrini, Animé, per viola sola, chosen by: Ed. Rugginenti, Milano; I. Stravinskij, Elegie für Viola sola (B. Schott's Söhne, Mainz) M. Vainberg, The first Sonata for viola solo Op. 107, 1971 J. Yuasa, Viola Locus for viola solo (Schott, Mainz) 1998; S.J. Walter, Das Hirn ist voll für Viola solo (Dohr, Köln), 1997; B.A. Zimmerman, Sonate für Viola solo (Schott's Söhne, Mainz) 1955 ora piece for viola soloto be chosen by the candidate, written and published in thefirst half of the 20 th century, not performed in other rounds. Participants must send threecopies of this composition with the request to enter the competition. N.B. - The candidates must perform the above-mentioned three compositions, entirely or in part at the discretion of the jury. Final Round Participants must perform three pieces, by different authors, oneto be chosen from Group A, one from Group Band obligatory: V. Bucchi, Soliloquios per viola sola (1976) (Premio Valentino Bucchi, Via Ubaldino Peruzzi 20, 00139 Roma), the same of the Eliminatory round. Group A: E. Bloch, Suite hébraique pour alto et piano (Schirmer, New York); P. Hindemith, Sonata Op. 11 n. 4 for viola and piano (Schott, London); D. Shostakovic, Sonata Op. 147 (Ricordi, Milano); Group B: M. Reger, Suites Op. 131 for viola solo n. 1 orn. 3 (Peters, Mainz) ora piece for viola solo, written and published after 1950 or in the 21st century, also unpublished, to be chosen by the candidate, not performed in other rounds. Participants must send three copies of this composition with the request to enter the competition. N.B. - The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. The editions are advisable but not compulsory. 6. Jury - The Jury will be composed of string players and personalities of the international musicworld. Amongthem, the Jury itself will choose its President at the opening of its session and he cannot take the same charge in other Commissions of V. Bucchi Prize 2011. Judgement by the Jury is final. Jury members cannot subsequently participate as candidates in the Bucchi performance and composition.

PROGRAM (VIOLONCELLO) Eliminatory Round Competitors must perform three pieces, one to be chosen from Group A. Obligatory pieces: - V. Bucchi, Ison per violoncello solo (1976) (edition Premio Valentino Bucchi 1994, Via Ubaldino Peruzzi 20, 00139 Roma); - one piece for violoncello solo, chosen by the candidate, written and published in the 20th or 21st century, by a composer of a same nationality as that of the candidate. Participants must send three copies of this composition with the request to enter the competition. Group A: B. Britten, Suite for , Op. 72 (Faber, London, 1976); G. Cassadò, Suite per Violoncello solo (Universal, Wien, 1926); L. Dallapiccola, Ciaccona, Intermezzo e Adagio per violoncello solo (Universal, Wien); Dutilleux, 3 strophes sur le nom de Sacher pour violoncelle solo (Heugel, Paris), chosen by: Ed. Leduc, Paris; A. Ginastera, Puneña n. 2, Op. 45 (Boosey & Hawkes,London); K. Huber, Transpositio ad infinitum (Schott, Mainz); Z. Kodály, Sonate, Op. 8 Violoncello solo (Universal, Wien); W. Lutoslawski, Sacher Variations for solo cello (Chester Music, London); H. Pousseur, Echos first for cello solo (Universal, Wien); I. Xenakis, Nomos Alpha for violoncello solo (Boosey & Hawkes, London). N.B. - The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. Semifinal Round Participants must perform two pieces, by different authors, chosen among the following ones: one from Group A, one from Group B. Group A: S. Barber, Sonata C minor, Op. 6 for cello and piano (Schirmer, New York); F. Bridge, Sonata for cello and piano, chosen by: Ed. Boosey & Hawkes, London; B. Britten, Sonata in C for Cello and Piano, Op. 65 (Boosey & Hawkes, London, 1961); A. Casella, Sonata in Do Maggiore per Pianoforte e Violoncello Op. 45 (Universal, Wien, 1928 e 1956); C. Debussy, Sonata pour violoncelle et piano (Durand, Paris, 1915, or Peters, Leipzig, 1969); G. Enesco, Sonate n. 2 en ut majeur pour violoncelle et piano (Salabert, Paris); S. Fuga, Terza Sonata, per violoncello e pianoforte, 1993, chosen by: Ed. mus. Pizzicato, Udine; D. Kabalewski, Sonate, Op.71, Violoncello und Klavier (Peters, London); F. Martin, Sonate en mi mineur pour violoncelle et piano (Salabert, Paris); B. Martinu, 1ère Sonate pour violoncelle et piano (Leduc, Paris); G. Petrassi, Preludio Aria e Finale per violoncello e pianoforte (Ricordi, Milano); S. Rachmaninov, Sonata in G minor, Op.19 for Violoncello and Piano (International Music Company, New York); M. Reger, Sonate, Op.116 für Violoncello und Piano (Peters, London); I. Stravinskij, Suite italienne pour violoncelle et piano (Ed. Russe de Musique, Boosey & Hawkes, London, 1934); P. Tortelier, Spirales pour violoncelle et piano (Durand, Paris); A. Webern, 3 kleine Stücke für Violoncello und Piano (Univer-sal, Wien); B. A. Zimmermann, Intercomunication 1967 (Schott, London). Group B: G. Aperghis, 4 Récitations (1980) (Salabert, Paris); C. Beck, Drei Epigramme (1976) (Schott’s Söhne, Mainz); P. Benary, Dialog für einen cellisten (1987); J. Benes, Sonata per violoncello solo (1940) (Slovac Hudobny Fond, Bratislava 1993), chosen by: Ministry of the Culture of the Slovak Republic; L. Berio, Les mots sont allés...recitativo pour cello seul (Universal, Wien); B. Britten, Third suite for cello, Op. 87 (1971); A. Chatschaturjan, Sonata-Fantasy for violoncello solo (1976 by M. Hans Sikorski, Hamburg); P. Christoskov, Fantasie pour violoncelle solo, Op. 15; A. Clementi, Lento per violoncello solo (Suvini Zerboni, Milano); P. Constantinescu,Sonata Bizantina pentru violoncello solo Edit. Muzicala, Bucurest, 1967; G. Crumb, Sonata for solo violoncello (1958, C.F.Peters Corporation, New York); E. Englund, Suite for Cello (1986), chosen by: Suomalaisen Musiikin Tiedotuskeskus (Finnish Music Information Centre), Helsinki, 1991; M. Feldman, Untitled composition (“Pattern in a cromatic Field”); R. Formosa, Iter (1985) for solo cello, chosen by: Australian Music Centre, Sidney; Godár, Sonata per violoncello e pianoforte (Slovenski Hudobny Fond, Bratislava 1990), chosen by : Ministry of Culture of the Slovak Republic; P. Hejny, Kovová Sonatá pro violoncello solo (1983) (Metronome Edition, Praha); H. W. Henze, Serenade für Violoncello allein (Schott, Mainz); P. Hindemith, Sonate für Violoncello solo, Op. 25 n. 3 (Schott, London); B. Hummel, Fantasia II “In memoriam Pablo Casals” für Violoncello solo Op. 97a, chosen by: Ed. Zimmermann, Frankfurt 1993; J. Ibert, Étude caprice pour un tombeau de Chopin pour violoncelle seul (Leduc, Paris); B. Jolas, Scion pour violoncelle (Heugel, Paris,1974); A. Knaifel, Lamento per violoncello solo (1967); J. Langlais, Ligne pour violoncelle seul (1937), chosen by: Ed. Combre, Paris 1975; D. Lemaître, Minaïdra per violoncello, chosen by: Ed. Rugginenti, Milano, 1994; G. Ligeti, Sonate für Violoncello solo (1990, Schott Musik International, Mainz); M. Lindberg, III. Aria violoncello solo (2001), (Boosey and Hawkes, London); F. Lopes-Graça, Tres inflorescencias para violoncelo solo; E. Mainardi, Fantasia orientale (1927), (Ricordi Editori, Milano); E. Mainardi, Ballata della lontananza (1965), (Schott’s Söhne, Mainz); I. Malec, Arco-1 pour violoncelle solo (1987), (Salabert, Paris, 1993); T. Mayuzumi, Bunraku for violoncello solo (1964), (Peters, New York); K. Meyer, Moment Musical violoncello solo (1976), (Edition Litolff/Peters); K Penderecki, Capriccio per S. Palm (1968), (Schott, Mainz); K. Penderecki, Per Slava (1987), (Schott’s Söhne, Mainz); S. Prokofiev, Sonata per violoncello solo, Opus 133; I. Rezác, Duo per Violoncello e Pianoforte (1964) (Panton, Praha), chosen by: Ministry of Culture of the Czech Republic; J. Rodrigo, Como una Fantasia für Violoncello solo (1979), (Schott’s Söhne, Mainz); A. Sallinen, Elegia Sebastian Knight’ille violoncello solo (1966), (Edition Fazer, Helsinki); A. Adnan Saygun, Partita violoncello solo (Ankara, 1955); A. Schnittke, Klingende buchstaben (1990), (Musikverlag Hans Sikorski, Hamburg); P. Sculthorpe, Requiem for cello alone (1982),chosen by: Faber Music, London, 1983; J. M. Simonis, Impromptu pour violoncelle seul, Op. 18 (1968), chosen by: CeBedDeM (Centre belge de documentation musicale), Bruxelles; D. Skerl, Trije Intermezzi za violoncello solo, Ed. Drustva Slovenskili Skladateljev, Ljubljana, 1987, chosen by: Ministry of Culture of the Slovenian Republic; E. Sollima, Sonata 1959 per violoncello solo, chosen by: Ed. Curci, Milano; G. Sollima, Alone per violoncello solo (Sonzogno, Milano, 1999); S. Veress, Sonata per violoncello solo, 1967 (Suvini Zerboni, Milano); A. Voirpy, Motum VII pour violoncelle solo, chosen by: Ed. H. Lemoine, Paris, 1993; A. S. Vuijic, Partita, per violoncello solo (1985); J. Wilson, The harlequin’s carnaval for cello solo (1995); I. Yun, Glissées pour violoncelle seul (1970), (Bote & Bock, Berlin); B. A. Zimmermann, Sonate für cello solo (1960),chosen by: Ed. Modern, München or a piece for violoncello solo to be chosen by the candidate, written and published in the 20thor 21st century, by a composer of a different nationality as that of the candidate, not performed in other rounds. Participants must send three copies of this composition with the request to enter the competition. N.B. - The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. Final Round Participants must perform three pieces, by different authors, one to be chosen from Group A, one from Group Band, obligatory: V. Bucchi, Ison per violoncello solo (Premio Valentino Bucchi, Via Ubaldino Peruzzi 20, 00139 Roma), the same of the Eliminatory round. Group A: P. Hindemith, Sonate fur Violoncello und Piano 1948 (Schott’s Söhne, Mainz); P. Hindemith, Sonate für Violoncello und Klavier Op. 11 n. 3 (Schott’s Söhne, Mainz); F. Poulenc, Sonate pour violoncelle et piano (Heugel-Leduc, Paris); S. Prokofiev, Sonata in do magg., Op. 119, Violoncello and Piano (Boosey & Hawkes, London, 1949); D. Shostakovic, Sonata, Op. 40, Violoncello und Klavier (International Music Company, New York). Group B: - a piece for violoncello solo, written and published after 1950, to be chosen by the candidate, not performed in other rounds. Participants must send three copies of this composition with the request to enter the competition. N.B The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the jury. The editions are advisable but not compulsory. 6. Jury - The Jury will be composed of string players and personalities of the international musicworld. Amongthem, the Jury itself will choose its President at the opening of its session and he cannot take the same charge in other Commissions of V. Bucchi Prize 2011. Judgement by the Jury is final.

PROGRAM (DOUBLE-BASS) Eliminatory phase (Orchestral tuning) Participants must perform three pieces. Obligatory: -V. Bucchi, Concerto grottesco per contrabbasso e archi, reduction for double-bass and piano (1967) (EditionPremio Valentino Bucchi, 1998, Via Ubaldino Peruzzi 20, 00139 Roma); - a piece for double-bass solo to be chosen by the candidate, written and published in the 20thor 21st century, by a composer of the same nationalityas that of the candidate. Participants must send threecopies of this composition with the request to enter the Meeting. - J. Françaix, Thème varié pour contrebasse solo, chosen by: Ed. Max Eschig, Paris, 1976: - or a piece for double-bass solo, written and published in the 20thor 21st century, since 1950, Participants must send threecopies of this composition with the request to enter the Meeting. N.B. -The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the Evaluation Commission. Semifinal phase (Solo tuning) Participants must perform two pieces, chosen among the following ones: ene from Group A and one from Group B. Group A: L. Chailly, Strutture per contrabbasso e pianoforte (Zanibon, Padova); F. Farkas, 4 Pezzi per contrabbasso e pianoforte (Editio Musica, Budapest, 1968); P. Hindemith, Sonata for Double Bass and Piano, 1949 (Schott, Mainz); R. Jettel, Konzertante Sonate für Kontrabass und Klavier (Eulenburg, Zürich, 1971); S. Koussevitzky, Concerto Op. 3, reduction for double-bass and piano (International Music Company, New York); S. Koussevitzky, Chanson triste, Op. 2and Valse miniature Op. l n. 2 (Intemational Music Company, New York); H.P. Linde, Sonate in E für Kontrabass und Klavier (Peters, London); A. Misek, Zweite Sonate e moll für Kontrabass und Klavier Op. 6 (Universal, Wien); L. Montag, Extrême für Kontrabass und Klavier (Musica, Budapest); V. Mortari, Concerto per Franco Petracchi, per contrabbasso e (Ricordi, Milano), riduzione per contrabbasso e pianoforte; S.B. Poradowski, Koncert Op. 26 na kontrabas i orkiestre, Klavierauszug (PWH, Polskie Wydawnictwo Muziczne); F. Proto, Sonata “1963” for double-bass and piano (1974); P. Ramsier, Divertimento concertante on a Theme of Couperin for double-bass and piano (Schirmer, New York); N. Rota, Divertimento concertante per contrabbasso e orchestra (Carisch, Milano); riduzione per contrabbasso e pianoforte. Group B: R. Caltabiano, Ellington Sonata for Solo Double Bass (Merion Music Inc. Théodore Presser Company, 1987); H. Fryba, Suite (in alten Stil) in 6 Sätzen für Kontrabass allein (Weinberger Wien); H. Hinohara, All’Alba fragrante per contrabbasso solo; ed. Premio V. Bucchi,1994; E. Kurtz, Improvisations pour contrebasse seule (Jobert, Paris); G. Perle, Monody II für solo Double Bass (Th. Presser Company, Pennsylvania, 1966) A. Pflüger, Capriccio per contrabbasso solo (1986) (Lugano, ed. Plural) - ora piece for double-bass solo, to be chosen by the candidate, written and published in the 20th or 21st century, by a composer of a different nationalityfrom that of the candidate. Participants must send three copies of this composition with the request to enter the meeting. N.B. The candidates must perform the above-mentioned compositions, entirely or in part at the discretion of the Evaluation Commission. Final phase: (Orchestral tuning) The candidates must perform three pieces, one to be chosen from Group A one from Group Band one from Group C and, obligatory: V. Bucchi, Concerto grottescoper contrabbasso e archi (Edition Premio Valentino Bucchi, Roma), the same of the Eliminatory phase. Group A: J. Françaix, Concerto pour contrebasse et orchestre, 1974 (Schott. Mainz), réduction pour Contrebasse et Piano; L.E. Larsson, Concertino for Basso and Op. 45 n. l1 (1957) (AB Carl Gehramans reduction for Doublebass and Piano, Musikforlag, Stockholm), F. Munot, Ier Concerto pour contrebasse avec orchestre ou piano (Buffet-Crampon, Paris, 1923). Group B: L. Berio, Psy per contrabbasso solo, 1989, Universal, Wien): I.Billé, 24Studi - Capricci per contrabbasso a 4 corde, Ricordi, Milano,1921, ristampa 1980, almeno 2; M. Cetiz, A-Scape for Double Bass solo; F. Donatoni, LEM, due pezzi per contrabbasso (BMG Ricordi, Roma 1983); D. Ellis, Sonata for unaccompanied double bass, proposed by: Yorke edition, London, 1978; M. Gajdos, Invocation für Kontrabbass, 2002 (Hofmeister, Leipzig); G. Gallignani, Suite per contrabbasso solo, scelto da: Ed. Bongiovanni, Bologna, 1973; S. Gervasoni, Terzo Paesaggio senza peso per contrabbasso, Ricordi, Milano, 1989; T. Hauta-Aho, Kadenza (Jasemusiikki Hameenlinna, Finland); T. Hauta-Aho, The Rhapsody (Musiikin Tiedotuskeskus) 1985; W. Hekster, Five images for double-bass solo, 1981 (Donemus, Amsterdam); H.W. Henze, Serenade (1949) Schott’s Söhne, Mainz; H.W. Henze, S. Biagio 9 agosto ore 12,07. Ricordo per un contrabbasso solo, 1980, Schott’s Söhne, Mainz; K. Huber, Ein Hauch von Unzeit VII (1972), Fassung für Kontrabass von F. Grillo, 1984-85, scelto da: Ed. Breitkopf & Härtel, Wiesbaden, 1990; B. Jolas, Épisode huitième pour contrebasse, 1984, scelto da: Ed. mus. A. Leduc, Paris, 1989; B. Kantuser, Za Kontrabas solo, 1980-81, chosen by: Drustvo Slovensky Skladateljev, Ljubljana (Société des Compositeurs Slovènes), 1988; J. Leach, Suite for unaccompanied double-bass (Yorke, London, 1974); J. Levitin, Sonata per contrabbasso solo, opus 58; N. Maw, The old king’s lament for solo double-bass, proposed by: Yorke edition, London 1981; P. Merkù, Epistola a Franco Feruglio per contrabbasso solo, chosen by: Ed. mus. Pizzicato, 1986; Y.A. Papaioannou, Dionysiakon for double bass solo, 1978, chosen by: Ministry of Culture of Greece; M.Pollard, Basslines for double bass solo-arnplified, 1990, chosen by Australian Music Centre, Sidney, 1990; F. B. Rossi, Studi da concerto con variazioni per contrabbasso a corda, n. 1, ed. Bèrben, Ancona); C. Santoro, Fantasia sul América para Contrabaixo solo (Edition Savart); G. Scelsi, C’est bien la nuit pour contrebasse solo (Salabert, Paris, 1988); S. Sciarrino, Esplorazione del Bianco I per contrabbasso solo (Ricordi, Milano, 1986); J. Slavik, “Praha, kveten. Odpoledne” Double Bass Solo, Mectier Music 2005; F. Zbinden, Hommage à J. S. Bach für Kontrabass solo Op. 44 (Breitkopf & Härtel, Wiesbaden) or a piece for double-bass solo to be chosen by the candidate, written and publishedsince 1950, not performed in other phases. Participants must send threecopies of this composition with the request to enter the Meeting. N.B The candidates must perform the above-mentioned compositions, entirely or in part, at the discretion of the Evaluation Commission. The performance of the four programmed pieces in the final phase will take place the same day. The editions are advisable but not obligatory. 6. Evaluation Commission- The Commission will be composed of double- bassists, string players and personalities of the international music world. Among them, the Commission itself will choose its President at the opening of its session and he cannot take the same charge in other Comissions of the Prize V. Bucchi 2011. Judgement by the Commission is final.

NOTE: You can find Bucchi's obligatory pieces in the Music Academies or Conservatories or contacting directly the Foundation: Foundation V. Bucchi - Via U. Peruzzi, 20 00139 Roma; tel (0039)0687200121; fax 0687131527; e-mail [email protected]