Entry Requirements
Participants must be aged between 18 and 35 at the date of the Final (5th October 2008). They may be of any nationality, resident in the UK or elsewhere and of any voice range.
Musical Requirements
First Round
Candidates are expected to supply a recording of 20 minutes of music from any of the repertoire areas listed below. The programme submitted must be as contrasted as possible. The recording may be submitted on compact disc, mini disc or cassette. For the recording, we do not insist that keyboard accompaniments should be on period instruments. If a lute is used in the recording, and the candidate reaches the final, the candidate’s own lutenist must attend, as there will not be a resident lutenist. The recording should be of as high a quality as possible. Candidates will be penalized for poor-quality recordings.
Final
A shortlist from the first round will be selected by the Committee and 8 (eight) candidates will be invited to perform at the final on 5th October 2008 at Finchcocks Museum, Goudhurst, Kent in front of an audience and the judges (Ian Partridge CBE, Julie Kennard and Geoffrey Govier). The prizewinners will be announced after the last performance. The finalists will be asked to perform a 25-minute contrasting programme from the list of repertoire below using appropriate accompanying instruments (see below). Music from the preliminary recording may be presented in the final but may not make up more than half the programme.
Rehearsal time at Finchcocks will be available on Friday and Saturday, 3rd and 4th October, but not on the day itself.
The following aspects are to the fore in the minds of the initial shortlist reviewers (the Committee) as well as the judges in the final competition:
- Historical awareness in vocal matters
- Performance style and manner
- Audience engagement
- Sympathy with and understanding of the words
- Evidence of personal involvement and veracity
- Ability to introduce the songs in a stylish manner
Accompanists
Vocalists are strongly encouraged to provide their own accompanists for the final, but it should be borne in mind that they will have to perform on Finchcocks' own excellent collection of historical keyboards, and should therefore be familiar with these types of instrument. A resident keyboard accompanist familiar with the special nature of these instruments will be available given advance notice (by 3lst July 2008)
Instruments
Lute
Part of the programme may contain lute songs and these must be accompanied appropriately. Candidates should arrange their own lutenist, who will automatically be entered for the accompanist’s prize.
Keyboard
Finchcocks Museum, with its world famous keyboard collection, is the venue for the final, and the following instruments will be available for accompanying:
1. ‘C.A.’ English Bentside Spinet, c.1700 (8’, compass GG/BB – d3) Pitch a=440
2. Kirckman Double-manual Harpsichord, 1756 (2x8’,1x4’, lute, compass
FF – f3). Pitch a=415
3. Broadwood Grand Piano, 1801 (compass FF-c4). Pitch a=415.
4. Clementi Grand Piano, 1822 (compass CC-c4). Pitch a=430
5. Erard Grand Piano, 1866 (compass AAA-a4). Pitch a=440
Repertoire Requirements
Candidates should choose their repertoire for both programmes (First round recording and final) from the following list, aiming to create an appealing, contrasted programme.
Any song by John Dowland
Any song by William or Henry Lawes
Any song by Thomas Arne
Any song originally written in English for the English market by a foreign composer e.g. Haydn, Handel or Beethoven
A Victorian song – by e.g. Henry Bishop, Charles Villiers Stanford, or Maude Valerie White
In addition, the final recital MUST include at least one song from this selection of John Kerr’s favourites:
Never Weatherbeaten Sail – Thomas Campion
Fairest Isle – Henry Purcell
Here’s to the Maiden – Thomas Linley
The Jolly Young Waterman – Charles Dibdin
Oft in the Stilly Night – Thomas Moore
The Lost Chord – Arthur Sullivan
Credit will be given to candidates who research unusual areas of the repertoire within the guidelines set out above.