The 2024 MusicFest Northwest will on the campus of Gonzaga University, May 13-18, 2024.
Connect, create, and celebrate with musicians and dancers of all ages through education, competition, and community partnerships. 2024 festival divisions include: Ballet, Brass, Flute, Piano, Reed, String, and Voice!
November 15th – December 15th, 2023
Register early for MusicFest Northwest 2024 and receive $5 off for each class.
Regular Registration Extended
December 16th, 2023 – March 8th, 2024
Regular Class Registration Pricing:
Single Class: $40
Chamber Class: $60
Young Artist Class: $100
March 9th – March 14th, 2024 an additional $5 will be added for each class
Born in Sweden, Anna Lantz started her ballet training at a young age at the Storan in Goteborg. She attended The Royal Ballet School (RBS) in London, England and graduated from the RBS Teacher Training Course. As Head Student with the highest honor, she was one of only five instructors in the United States to possess the following ballet pedagogy qualifications: The RBS Three-Year Teachers Diploma, Imperial Society for Teachers of Dance (ISTD) Cecchetti Associate Teaching Diploma and the Royal Academy of Dance (RAD) Teaching Diploma. Upon graduating from RBS, Lantz was immediately offered a full-time position at the John Cranko School in Stuttgart, Germany, where she taught for five years.
In 2004, Lantz became a full-time faculty member at Boston Ballet School, the largest school of its kind in North America. As the Ballet Mistress for the School, Lantz rehearsed children’s roles for several full-length ballets including A Midsummer Night’s Dream, La Sylphide and The Nutcracker. Following that, she was promoted to Head of Elementary Programs where she developed the syllabus and curriculum. In 2007, Lantz was appointed Assistant Choreographer for Disney’s number one box office hit, the movie The Game Plan with “The Rock” featuring students from Boston Ballet School.
As School Director for the Academy of Nevada Ballet Theatre 2009-2021, Lantz managed the artistic and operational activities for the Academy’s Pre-Professional Ballet Program and Children’s Program including overseeing the student body and faculty, established policies and procedures, and developed curriculum. In addition, she produced the annual spring concerts, where she was responsible for choreographing and staging full-length ballets for both the Pre-Professional Ballet Program and the Children’s Ballet Program.
Lantz has taught at the University level as well; she was an Adjunct Professor at Dean College, Emerson College and has taught at Harvard University, Cambridge, MA. Lantz is also a certified yoga instructor and has been lauded for her unique ability to instruct students of all ages and levels.
Dr. Jacqueline Cordova-Arrington
Building a versatile career as a professional flutist and educator, Dr. Jacqueline Cordova-Arrington is committed to collaborating with distinguished artists, citizens, and thinkers to create inspiring and culturally unifying experiences for communities and artists alike. As a fellow of Carnegie Hall’s Ensemble Connect —formerly known as Ensemble ACJW—Jacqueline had innumerable opportunities to accomplish this mission, creating tangible impact as a performer, educator and community advocate. Ensemble Connect is a two-year artistic residency professional classical musicians in the United States combining musical excellence with teaching artistry, community engagement, advocacy, entrepreneurship, and leadership.
Jacqueline recently completed her doctorate at the Eastman School of Music studying with Bonita Boyd with an additional certificate in World Music. Her former teachers include: Bradley Garner, David Cramer, and Amy Porter.
Equally at home on the orchestral stage, and as a recipient of the William D. Ford Fulbright Grant, Jacqueline was the first American to study extensively with principal flutists of the Berlin Philharmonic Andreas Blau and Emmanuel Pahud. Her training in Berlin initiated her success as an orchestral flutist, leading to performances with major orchestras, including the Los Angeles Philharmonic, Buffalo Philharmonic and Louisiana Philharmonic.
DMA, flute performance and literature; Eastman School of Music, 2015, certificate in world music
MM, flute performance, University of Cincinnati–College-Conservatory of Music, 2010
BM, flute performance, University of Michigan School of Music, Theatre, and Dance, 2008
Dr. Jeffrey Savage
Jeffrey Savage is active internationally as both soloist and chamber musician and has been praised as “fearless” (Straits Times, Singapore), “joyful and inspiring” (American Record Guide), and “breathtaking” (Navona/PARMA). Recent performances include China’s Wuhan Conservatory (Liszt’s Totentanz), premieres of Daniel Ott’s Fantasy on a Falling Line in New York and Vietnam, and broadcasts on national NPR stations.
His piano duo 88SQUARED recorded the complete two-piano works of Daniel Ott (Navona/PARMA) and Lowell Liebermann (Albany Records), produced by the composers. Jeffrey has also worked with Tania León, Laura Schwendinger, John Corigliano, Charles Argersinger, Eric Ewazen, and Alex Shapiro, among others.
Savage has performed in Alice Tully Hall, Carnegie’s Weill Hall, at festivals across the United States, and with orchestras in New York, Pennsylvania, Louisiana and in the Pacific Northwest. He has given performances and master classes nationally and at major conservatories throughout Asia, including China, Singapore, Vietnam, Thailand, Malaysia, Japan, and India. Jeffrey has won top prizes and been recognized in national and international competitions, including the Missouri Southern International, Fort Collins, Wideman Competitions, Ellis Piano Duo Competition, the Abild Prize in American Music, and second prize and a Special Mention Prize at Concours Grieg International Piano Competition (Oslo).
Students of Jeffrey Savage have been accepted at prestigious festivals and programs across North America and Europe, awarded Fulbright fellowships, and presented at national MTNA and Collegiate Piano Pedagogy Symposium conferences. Previously, Dr. Savage was professor and keyboard area coordinator at Washington State University and in both the college and pre-college divisions at Juilliard. He holds master’s and doctorate degrees from The Juilliard School and a Bachelor of Music from the University of Colorado. His major teachers include Angela Cheng, Yoheved Kaplinsky, Robert Spillman, Martin Canin, and Rudolph Barta. He frequently presents workshops, and adjudicates at regional and national festivals and competitions.
Dr. Karen Savage
Praised as a “tour de force” (Santa Barbara News-Press), for “breathtaking beauty and pure lyricism” (Le Soleil, Vancouver), and for “fearless performance” (The Straits Times, Singapore), Karen Hsiao Savage is Associate Professor of Collaborative Piano and Coordinator of Chamber Music at UMKC Conservatory. She holds a doctoral and two master’s degrees (in solo and collaborative piano) from Juilliard, and a bachelor’s degree from the University of Victoria (Canada).
Karen has performed internationally in Carnegie Hall’s Weill Hall, Merkin Hall, Alice Tully Hall, Shanghai Grand Theatre, and Perlman Music Program, with broadcasts on internationally syndicated NPR programs and on Vietnamese and Chinese national television. Recent activities include performances with members of the Kansas City Symphony, New York Philharmonic, LA Philharmonic, Chiara quartet’s Hyeyung Yoon and Gregory Beaver, an album of works by women composers with oboist Celeste Johnson, recordings with euphonium/tuba player Chris Dickey, and the recording premiere of Jim Stephenson’s Sonata for Oboe and Piano (Fall 2023).
Upcoming projects include a staged version of Rome Prize winner Paul Rudy’s A Time of Ma’at for two pianos with choreography by Guggenheim Fellow Gary Abbott, highlighting the experience of mass incarceration.
Working closely and frequently with living composers, 88SQUARED, Karen’s piano duo with husband Jeffrey, has received critical praise from American Record Guide and Fanfare for recording premieres of two-piano works by Lowell Liebermann (Albany Records) and by Daniel Ott (Navonna/PARMA Records), albums that were led and produced by the composer. 88SQUARED has also commissioned and premiered works by Yotam Haber, Paul Rudy, and Heather Schmidt. The duo won the Ellis Duo Piano Competition, the Abild Prize in American Music, and second prize and special mention at Concours Grieg International Competition (Norway).
Karen leads UMKC Conservatory’s Kauffman Community Outreach Project, sending student fellows to perform chamber music in hospitals, hospice, senior homes, and other venues in Kansas City. She created the Conservatory’s new Collaborative Piano MM degree program, which welcomed its first class in Fall 2022.
Dr. Savage is in demand as a presenter, adjudicator, and guest teacher. Her students are active in the field as performers and teachers. Karen previously served on the faculty of Washington State University. Her performances, master classes, and presentations include those at Indiana University, Eastman School of Music, Musi-Quest National Piano Festival (India), Ho Chi Minh Conservatory (Vietnam), and Yong Siew Toh Conservatory (Singapore). Karen’s major teachers include Jonathan Feldman, Veda Kaplinsky, Margo Garrett, Sam Sanders, Robin and Winifred Wood and Edward Parker; additional studies were with Anne Epperson and Robert McDonald.
Dr. Maxine Ramey
Maxine Ramey has been a Professor of Clarinet for 36 years in universities and colleges in Montana and New Mexico. She is Professor Emeritus Director of the School of Music at the University of Montana. In 2008 she was named a Distinguished Professor of Music and in 2013 she was awarded the Outstanding Administrator for the University of Montana.
Ramey has been clarinetist with the Sapphire Trio for 26 years (Sapphire3.org). She has performed at numerous International Clarinet Association (ICA) Clarinetfests in the U.S. and internationally, giving concerts in 45 of the US states and 6 continents. She premiered works by iconic American composers Vincent Persichetti and David Maslanka. As Solo/Principal Clarinet with the American Wind Symphony Orchestra, she premiered new works by important 20th century composers Jean Francaix, Jacques Casterede and William Bolcom. As an expert/leader for Smithsonian Journeys, she provided lectures and walking tours for The Smithsonian Institution in Austria, Hungary and Poland.
From 2010-2015 Ramey served on the board of directors of the ICA and was elected by the international membership as president in 2014. She received her Bachelor of Music from Arizona State University, her Master of Music and Doctor of Musical Arts from Michigan State University.
Dr. Stephen Miahky
Stephen Miahky is the Joseph Joachim Chair of Violin and First Violin of the Blair String Quartet at Vanderbilt University. He is a rotating concertmaster of the IRIS Collective in Memphis and has been guest concertmaster of the Kansas City Symphony, Illinois Symphony, Orchestra Kentucky, Columbus ProMusica Orchestra in Ohio, and the River Oaks Chamber Orchestra in Houston. He has collaborated with many of the great artists of our time, including Lynn Harrell, Joseph Silverstein, Martin Beaver, Jinjoo Cho, Glenn Dicterow, Norman Fischer, Martin Katz, and Steven Doane. As a sought-after interpreter of contemporary music, He can be heard in recordings on the Naxos, Albany, AMP, New Dynamic, and Edition Modern record labels. He received his B.M. and M.M. degrees from the University of Michigan and his D.M.A. from Rutgers University. His teachers were Alan Bodman, Paul Kantor, and Arnold Steinhardt. He spends his summers as a resident artist at the Walla Walla Chamber Music Festival in eastern Washington, and as a faculty member at Encore Chamber Music and the Brevard Music Center.
Dr. Valdine Ritchie Mishkin
Canadian Cellist Valdine Ritchie Mishkin is a diverse musician, recognized as a gifted cello teacher and an avid solo, chamber, and orchestral musician. Valdine champions contemporary music with Third Angle, Fear No Music, and March Modern, as featured live on All-Classical FM Portland’s Club Mod and Thursdays at Three. A chamber music enthusiast, she performs Latin-American music as Duo Apaixionado with Peruvian guitarist Alfredo Muro, performs “the classics” with the passionate Crescendo Project, and collaborates in faculty recitals at Willamette University and with pianists Maria Garcia and Steve Lewis. She recently launched the Valley View Chamber Concerts series that hosts soloists and chamber ensembles in intimate salon-style house recitals paired with themed food and wine. Valdine is a regular extra cellist with the Oregon Symphony, sectional coach with the Portland Youth Philharmonic, and formerly performed with the Houston Grand Opera and Mercury Baroque Ensemble. Debuting at age 10 as a soloist with the Winnipeg Symphony, Valdine has since performed concerti with the Mercury Ensemble, Chehalem Symphony, Chamber Camp of Portland, McGill Symphony, the Winnipeg Youth Symphony, and with the Sunnyside Symphony.
Equally dedicated to teaching the youngest students in early education as well as training advanced cellists, Valdine serves on the faculty at Reed College (previously at Willamette University and George Fox University), teaches a bustling studio of cellists in West Linn, and as faculty at the Walla Walla Suzuki Institute. Her students are frequent solo competition winners and scholarship recipients, earn distinction awards in ABRSM exams, sit principal in area youth orchestras, and attend nationally-recognized summer programs such as BUTI at Tanglewood and Center Stage. Committed to reaching the next generation of musicians, she presents at conferences, adjudicates regional and national festivals, and serves on the boards of Third Angle New Music and the Portland Boychoir.
Valdine holds a Doctorate and Masters in Music from Rice University as a student of Lynn Harrell and Norman Fischer, a Bachelor of Music from McGill University (Montreal, Canada) as a student of Antonio Lysy, and holds both performance diplomas (A.R.C.T.) and teaching certificates in cello and piano from the Royal Conservatory of Toronto as a student of Julie Banton and Ann Lugsdin (Winnipeg). Performing across Canada, U.S.A. and Europe, Valdine’s development was shaped by such festivals as Tanglewood, Orford, Banff Centre for the Arts, Canada’s National Music Competition Festival (3rd prize winner), and Schleswig-Holstein Orchestra Academy, by masterclasses with Janos Starker, Aldo Parisot, Zara Nelsova, David Finckel, the Juilliard Quartet, and Arnold Steinhardt, and under the baton of Seiji Ozawa, Charles Dutoit, Christoph Eschenbach, Larry Rachleff and Timothy Vernon.
Garik Pedersen, a Steinway Artist, is enjoying a rewarding post-academic career as a teacher, performer, and researcher in St. Louis, Missouri. In 2023 he recorded a CD of solo and chamber works for piano by British composer Sasha Johnson Manning. In May, 2024, he is featured on TV in season three of Secret History of WWII (Fox Nation) for The Victory Vertical Project, his touring lecture-performance that tells the musical story of small pianos built for the military during World War II.
His performance career has taken him throughout the US and to Europe, Asia, Canada, Central America, and the Philippines. He has presented programs for the State Department, the National Federation of Music Clubs, and professional music teacher associations in the US, Europe, Canada, and Taiwan. His recordings can be found on the Albany, Regents, and Hornblower labels and he has performed on numerous public television and radio broadcasts.
Pedersen taught for over 30 years at Eastern Michigan University, which granted him emeritus status in 2021. At EMU his piano studio included prizewinners in national, international, regional and state competitions.
A scholarship student of Wesley True at the University of Central Missouri, which named him Distinguished Alumnus in Music, he was a DMA piano student of John Simms at the University of Iowa. Other major influences have been Gyorgy Sebok, Eugene Bossart, and Edwin E. Gordon.
Garik is a past president of Michigan Music Teachers Association, which honored him with its Distinguished Service Award in 2016. He received the Michigan Touchstone Award in 2017 in recognition of his “commitment to Michigan’s artistic excellence and his advocacy for the arts.”
Kenneth Christensen, nationally certified teacher of music and pianist, has appeared as a soloist and collaborative artist throughout his home state of Montana as well as the United States, Europe and Asia. His international performances include collaboration with composers and conductors John Rutter and the late Sir Richard Wilcox in performances at Kings College Chapel Cambridge, England and London’s Royal Albert Hall. Other international appearances include performances at the First American Invitational Music Festival in China and the Philippines and the Montana State University 2012 Alumni Chorale Tour of Italy, Switzerland and France. His academic achievements include receiving the prestigious “Award in Excellence in Teaching” while serving on the faculty at the School of Music at Montana State University in Bozeman, Montana.
Mr. Christensen served as President for the Music Teachers National Association from 2013 to 2015 and received a Music Teachers National Association Foundation Fellow in the spring of 2017. Currently Mr. Christensen continues to remain active as a performer and serves as an Assistant Teaching Professor of Piano at Montana State University where his students continue to win state and regional competitions. In 2014
Mr. Christensen was awarded the Montana State Music Teachers Association “Teacher of the Year.” As a member of Music Teachers National Association Mr. Christensen travels the Pacific Northwest judging piano competitions as well as presenting workshops and master classes for students and teachers. In the fall of 1997 Mr. Christensen collaborated with pianist Liza Hella to form their piano duo “2 Pianos 4 Hands.” Together they concertized throughout the United States and performed their New York recital debut in April of 2006 at Carnegie Hall’s Weill Recital Hall. In early 2008 “2 Pianos 4 Hands” appeared on the Emmy Award winning Montana PBS television program “11th and Grant” with Eric Funk. Mr. Christensen earned a Bachelor of Music Degree from Montana State University and completed the Master of Music Degree in Piano Performance from the University of Montana.
John Driscoll is Adjunct Faculty at the University of Montana in Missoula, where he teaches applied trumpet, the weekly trumpet studio masterclass, and coaches the Celebration Brass Quintet. John served as Principal Trumpet of the Missoula Symphony Orchestra and Brass Quintet for fifteen years, while also serving as Executive Director. Previously, John was a member of the Knoxville Symphony Orchestra, the Oak Ridge Symphony Orchestra, and the Greeley Philharmonic Orchestra; and he performed, toured and recorded as a member of the professional brass quintet Brasswind. Equally comfortable in classical and commercial idioms, John has been an active freelance trumpeter, performing with orchestras and chamber ensembles across Montana, Colorado, Washington, and Tennessee, and with multiple pop and country musicians.
John has taught trumpet at the University of Montana, the University of Tennessee, and Pellissippi State College, while maintaining a vibrant private trumpet studio for over twenty five years. His private students have gone on to study at some of the nation’s most prestigious colleges and universities, and his college students have become successful performers and teachers across the country. A graduate of the University of Northern Colorado and the University of Tennessee, John’s primary trumpet mentors have been Bill Pfund and Cathy Leach.
Mary Ellen Callahan
California-born soprano Mary Ellen Callahan appears frequently as soloist in a variety of repertoires. In a recent performance of Carmina Burana at the Metropolitan Opera house with American Ballet Theatre, the New York Times said she was “first-rate”. She performed Mahler’s 8th Symphony with the Utah Symphony and conductor Keith Lockhart and was called “stunning” by the Salt Lake Tribune. In a performance of the Mozart Great Mass in C Minor, the Washington Post hailed her as “radiant and wondrously agile”. She has been invited to sing the Messiah by conductor Richard Westerfield with the Alabama Symphony Orchestra, the Buffalo Philharmonic, and the Harrisburg Symphony. She sang performances of Mozart’s Great Mass in C Minor with the New Mexico Symphony Orchestra where critics said “she radiated a purity and warmth which pierced the heart”, and was invited to return to the NMSO to sing Mozart concert arias and Requiem, as well as the Handel Messiah in subsequent seasons.
She is a frequent soloist with the American Bach Soloists in San Francisco, and has performed a program of Bach cantatas and the B Minor Mass with them. In a performance of Handel’s Messiah with the San Antonio Symphony, she was praised for her “liquid silver fluency”. Collaborating repeatedly with the Washington Bach Consort, she has been a soloist in Bach’s Missae Breves and B Minor Mass, the CPE Bach Magnificat and many cantatas, and she was also engaged by that group for their tour of Germany. She has performed Bach’s B minor Mass in Washington DC’s Kennedy Center with Norman Scribner and Bach’s St. John Passion in New York’s Lincoln Center with Kent Tritle.
In Carnegie Hall, she has performed the Bach Christmas Oratorio, Mahler’s Eighth Symphony, Handel’s Messiah and a solo recital in Weill Hall to a sold-out house. She recently sang the Bach Christmas Oratorio with the St. Luke’s Chamber Ensemble. She was a soloist in several performances of Mahler’s Eighth Symphony with the Hartford Symphony and previously with conductor Bill McGlaughlin in his farewell performance with the Kansas City Symphony. In New York City’s Town Hall she has sung Handel’s Alexander’s Feast with the Dessoff Choirs. Ms. Callahan sang Bach’s Wedding Cantata in an enthusiastically received performance with Musica Sacra conducted by Richard Westenburg. Familiar to New York City audiences as soloist with the Collegiate Chorale, the Riverside Choral Society, the Dessoff Choirs and the Central City Chorus, she has performed works including Mahler’s Second Symphony, Brahms’ Ein Deutsches Requiem, the Fauré Requiem, Handel’s Judas Maccabeus, the Haydn Lord Nelson Mass and Mass in Time of War, Mozart’s Solemn Vespers, Purcell’s Dioclesian, the Poulenc Gloria, and Schubert’s Mass in G.
Ms. Callahan won first prize in the Musica Sacra Bach Competition and third prize in the New York Oratorio Society Competition. She has won fellowships to both the Stonybrook Bach Aria Festival and the Carmel Bach Festival. Invited to return to the Carmel Bach Festival as soloist in subsequent seasons, she received reviews which spoke of her “exceptionally pure tone” and “compellingly lovely voice”.
Ms. Callahan’s recently recorded Gluck’s operas La Corona and Il Parnaso Confuso with the Queen’s Chamber Band for Albany Records. She can also be heard in the world premiere recording of Handel’s opera Faramondo, a Vox Classics CD. With the Washington Bach Consort and conductor J. Reilly Lewis she has recorded the J.S. and C.P.E. Bach Magnificats, available from Newport Classics, as well as The Bach Masses, available on Loft Recordings. She is featured on a Helicon Classics CD called A European Christmas, and she is the guest soloist with the Russian Chamber Chorus of New York in a CD of contemporary Russian music by Yuri Yukechev entitled My Heart Is Ready, released by Helicon Classics. Ms. Callahan also sings songs by Amy Beach on the Newport classics CD entitled Distant Playing Fields.
MusicFest Northwest 2023 Program
View the program below for festival, class, and student information.
The find feature (magnifying glass) can used to search for the entry or information you are looking for.
For offline viewing, the program can be downloaded by clicking the link in the upper left corner.
MusicFest Northwest is open to participants of all ages. Please see respective class details in the festival page, for eligibility.
Classes are open to any person whose principal means of livelihood is obtained from non-musical work, even though he/she/they accepts stipend or honorarium from time to time from musical services rendered.
No one piece of music may be performed by the same person in two different classes.
Where indicated for a class, entries are limited to students of the specified age, school grade, or level.
In those sections that require more than one performer (duos, trios, etc.) a student may be a member of more than one group in the same class.
MusicFest does not provide pianist accompanist for participants. Participants will be responsible for securing their own accompanists and arranging any fees/rehearsals. If you need helping acquiring an accompanist, please see our local accompanist list under additional resources in your division page.
Young Artist winners are not eligible to compete as a Young Artist in the same division in any subsequent festival.
Young Artist participants may not participate in multiple Young Artist divisions in the same festival year. Young Artist participants may participate in Adjudicator Choice classes, however they will not be eligible for an Adjudicator Choice Award if they have been selected as winner in their Young Artist class. Individuals participating in both Young Artist and Adjudicator Choice classes may not perform the required repertoire from their Young Artist section in their Adjudicator Choice class.
Except for the Ballet Division, no recorded music will be allowed for accompaniment.
Participants are responsible for hiring their own accompanists. Accompanists are not classified as participants, except in Chamber Music where the piano is an integral component rather than an accompanying participant so all members will be adjudicated.
No late entries will be accepted.
MusicFest Northwest has a No Refund Policy
Any exceptions must be addressed by sending a letter to the administrative team for MusicFest Northwest. Any approved refund will not include peripheral fees.
MusicFest Northwest reserves the right to close any particular division or class in the event of low enrollment, and refunds will be issued as seen fit by the administrative team.
By entering the MusicFest Northwest festival you understand that your image, video or audio may be used in the media or in marketing material. You are giving MusicFest Northwest and their agents the right to use those images and likenesses. If you wish to not have your image used, please contact our office at 509-327-3455.
MusicFest Northwest requires legally obtained music scores. It is the responsibility of teachers and students to be sure their music is in compliance with copyright laws. If you have questions about using scores downloaded from sources such as IMSLP, please refer to the ASCAP Licensing web page:https://www.ascap.com/help/ascap-licensing.
Participants must report to their Check-in desk 15 minutes before the time specified in their schedule. For various reasons a participant’s order of performance as assigned by the Chair might change without notice.
Participants must give a copy of their music to the check-in Assistant when they report, opened at the proper page with measures numbered.
Once the class has all started, all participants must stay for the entirety of the class.
When called for adjudication, instrumentalists and voice participants will take the stage and wait for the Adjudicator’s signal to begin performing.
Time limits are maximum; less time may be used but not more. If a selection exceeds the time limit, the adjudicator may stop the performance.
In all adjudication rooms, cell phones and pagers must be in “do not disturb” mode or “airplane” mode. Flash photography is not permitted. All video, photo and audio recording during class sessions is strictly prohibited, except by the official MusicFest Northwest photographers. Photos may be taken after the class is concluded.
In Divisions and Classes where memorization is required, participants choosing to use their music may be heard for adjudication only.
Very Good, 90-93
Ballet and Voice Divisions use equivalent ratings but no numerical grades.
A Certificate of Merit is given to all participants for a “Superior” performance.
Questions or concerns regarding adjudication, grading or awards should not be discussed with the Adjudicator and must be in writing to the Festival Director.
To be eligible for an award in any class, the entrant must be adjudicated during that class. All Young Artist participants must be adjudicated in all three classes (1A, 1B, and 1C) at the time scheduled by the Division Chair.
In order to be considered for an award involving public performance and/or monetary compensation, a participant must be available for rehearsals and performances as scheduled. If the winner of the class cannot take advantage of an award, it may be offered to a qualified alternate, as determined by the adjudicator.
Participants may receive only one monetary award given by MusicFest Northwest in the same year.
A participant may perform in only one Festival concert in the same year. This rule does not pertain to radio performances.
The adjudicator is the sole judge, and that decision is final. If, in the opinion of the Adjudicator, no entrant in an award class meets the standard of performance, the award shall not be given.
Grading System: Superior (97 – 100), Excellent (94 – 96), Very Good (90 – 93), Good (80 – 89), Fair (75 – 79), Incomplete (>75)
In all Award Classes:
One (1) Gold Medal may be given with a grade of 97 or above (Superior)
One (1) Silver Medal may be given with a grade of 94 or above (Excellent)
In Classes where a Cash Award is given, ties are not allowed
Any first place performance receiving a grade of 94-96 (Excellent) can only receive a Silver Medal and is not eligible for any Cash Award or festival highlights
MusicFest Festival Highlights Concert will take place on Friday, May 17th, 2024 at 7:30 PM
There are no additional fees for individuals participating in these classes.
The Gold Medal winner(s) with the highest score in EACH Adjudicator’s Choice Class will be invited to perform at the Festival Highlights concert. If no Gold Medal is awarded, at the adjudicator’s discretion, the class will not be represented at the Festival Highlights Concert.
Participants in Adjudicator’s Choice classes may enter the Young Artist section within the same festival year, however if they are selected as a Young Artist winner, they will no longer be eligible for the Adjudicator Choice Award.
For Brass, Flute, Reed, String and Voice Divisions, winners in “Adjudicators Choice” Classes are selected to perform in the Festival Highlights concert. All classes designated as an Adjudicator’s Choice Class will be held on Monday, Tuesday & Wednesday of festival week.
For the Piano Division the winner of each playoff group will perform at the Festival Highlights Concert on Friday, May 17, 2024. Adjudicators may select one winner from each group of the following classes: Baroque Classes (PB08,PB09,PB10,PB11,PJS14andPJS15), Classical Classes (PHM17, PHM18, PHM19, PBE21, PBE22, PBE23, PC30 and PC31), Romantic/Chopin Classes (PR38, PR39, PR40, PR41, PCH45, PCH46, PCH47 and PCH48), Impressionist/Contemporary Classes (PI51, PI52, PCT60, PCT61, PCT62 and PCT63). Playoffs for the piano division Adjudicator Choice Awards will take place on Thursday afternoon, May 16th, 2024, schedule TBD.
In order to be eligible for the Adjudicator Choice Award, participants must be available to perform at the Festival Highlights Concert, on Friday, May 17th, 2024.
Each division will have specific division specific rules/regulations. Please see each division for more information.
Introductory Masterclasses (New this year!) are for those who would like to perform and receive feedback, but not receive a numerical score. The relaxed and encouraging atmosphere of the masterclass is perfect for musicians of any age (studying privately or not), who are beginners or intermediates, or who just want to try out their pieces and get helpful suggestions from an outstanding adjudicator. Memory is optional, and pieces need not be completely polished. Any repertoire (in any style) that does not exceed 6 minutes may be chosen in order to allow for ample adjudication time on the piece. Piano accompaniment is optional. Introductory Masterclasses offer participants the opportunity to perform a piece of their choice and receive written and oral feedback from the adjudicator. The music may be from any era or genre of music.
Adjudication-Only Classes are for those who wish to receive feedback and a numerical score. Memory is optional. Piano accompaniment is expected when appropriate. Adjudicator will offer written and oral feedback along with a numerical score. No medals are awarded.
*Competition Classes (marked by an asterisk) are for those who wish to compete for medals. Memory is required unless otherwise stated. Piano accompaniment is expected when/where appropriate. Adjudicator will offer written and oral feedback, along with a score. Gold/silver medals are awarded at the discretion of the adjudicator. Medal winners may be invited to perform live on the KPBX radio.
**Adjudicators’ Choice Class (marked by a double asterisk) indicate a competition class where participants receive written and oral feedback, along with a score. Gold/silver medals are awarded at the discretion of the adjudicator. The gold medal winner with the highest score will be invited to perform at the Festival Highlights concert at the Myrtle Woldson Performing Arts Center.
The Young Artist Competition is the highest level of competition and is reserved for those ages 16-29. The gold medal winner performs with the Spokane Symphony in the Young Artist Concert at the Fox Theater, and receives a cash prize. Ballet Young Artist performer performs in the Festival Highlights Concert at the Myrtle Woldson Performing Arts Center, and receives a cash prize. Memory is required unless otherwise stated. Piano accompaniment is required when appropriate.
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