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Applications are now open for the 2019 Meg Quigley Vivaldi Competition, at https://app.getacceptd.com/megquigley. The deadline for submission is October 15, 2018. For more details, see the Competition page.
Due to conflicts with other events in downtown Los Angeles, the 2019 MQVC Basson Symposium will now be held January 11-13, 2019, still at the Colburn School.
The repertoire for the 2019 Competition includes works by Antonio Vivaldi, Cindi Hsu, Francisco Mignone, and Alexandre Tansman. See the Competition page for complete details.
The Meg Quigley Vivaldi Competition and Bassoon Symposium is a three-day event dedicated to bassoon master classes, presentations, performances, and the live semifinal and final rounds of a competition for young women bassoonists from the Americas. The event, founded by Nicolasa Kuster and Kristin Wolfe Jensen, has been held previously at the Round Top Festival Institute, the University of the Pacific, Oberlin College, the University of Texas at Austin, and Ithaca College.
The events of the symposium are open to all. The competition itself is for women bassoon players who are citizens of the Americas (North America, Central America, South America), or who are enrolled in school in the Americas during the year prior to the competition.
Many MQVC semifinalists and finalists have gone on to further success and we hear back from them about how the experience of the competition helped them succeed. Here is a sampling of some of the professional positions and honors garnered by MQVC women:
"Yo participé en el concurso MQVC en 2012. Siempre quería participar en esta clase de concurso porque creo que es importante en cuanto al desarrollo de la carrera de un músico. Por lo tanto, conseguí y estudié las partituras y envié mi grabación. Afortunadamente el resultado fue positivo: ¡Fue elegida como una de 10 semifinalistas! De hecho, no lo podía creer porque fue el primer concurso en el que participé. Estaba muy entusiasmada. Entonces, hice la maleta y fui a California. Después de un viaje largo, llegué a Stockton. El personal me dio una cálida bienvenida y me ayudó a sentirme cómoda. Este concurso representó un gran desafío para mí y además fue una experiencia inolvidable. Tras todos mis esfuerzos, me sentía como si recogiera mi recompensa. Durante el simposio tuve la oportunidad de conocer a otros fagotistas jóvenes, como yo, que persiguen el mismo sueño. También conocí a músicos excelentes. La exposición exhibió muy bien la versatilidad del fagot como instrumento musical. Para mí, ser la primera costarricense en ganar el segundo premio en este importante concurso fue una experiencia única que me abrió un abanico de posibilidades para mi carrera futura."
I participated in the competition MQVC in 2012. I always wanted to participate in this kind of competition because I think it is important for the development of a musician's career. Therefore, I got the scores, studied the repertoire and sent the recording. Fortunately, the result was positive, I was selected as one of the 10 semifinalists! Sincerely I could not believe it because it was the first competition I was taking part in. I was very excited, then I packed my bag and went to California. After a long trip I arrived in Stockton. The staff gave me a warm welcoming and they helped me to settle in. This competition meant a big challenge for me and it was an unforgettable experience. After all my efforts I felt that I was getting my rewards .During the symposium I had the opportunity to meet other young bassoonists, like me, pursuing the same dream. I also met excellent musicians. It was a great exhibition of the bassoon in all its branches. For me been the first Costa Rican woman who win the second prize of this important competition was a unique experience that opened the window for my future career.Sarah Ruiz (MQVC 2012), July 2018
Participating in the Meg Quigley Vivaldi Competition in 2010 was a tremendous learning experience for me. Preparing the repertoire, creating a polished preliminary recording, performing for a large audience with a judging panel, and speaking to the audience in a personal yet informative manner are just a few of the skills that the MQVC process helped me develop that have been essential in furthering my career as a professional bassoonist. Thanks to the generosity of donors, I was able to put my first place winnings towards the purchase of a new instrument, a Fox 660. The MQVC was my first international competition and I will forever be grateful for the opportunities it afforded me and for the network of incredible bassoonists I was able to meet.Amanda Swain (MQVC 2010), March 2013
My participation in the Meg Quigley competition played a significant role in my career as a bassoonist and I feel so honored to have been the winner of the inaugural competition in 2005. MQVC came at a time when I was beginning to think about making the transition from my life as a student to that of a professional musician. The preparation for the competition challenged me to focus on repertoire, consisting of pieces both new and familiar to me, and to find a voice to best express these works. Certain requirements of the competition, such as the speaking component and the memorization of the Vivaldi concerto, helped me to connect to the audience. Establishing this communication with the audience has become such an important element of being a performer and I am glad that it was encouraged in the competition. Perhaps the most exciting part about winning the competition was the performing opportunities. It was a wonderfully enriching experience to perform a recital at the IDRS convention and, as a featured soloist at Wichita's Chamber Music at the Barn series, I felt so lucky to work with some wonderful musicians and play for an incredibly enthusiastic and engaged audience.
Now, years after MQVC, I continue to cross paths with many of the people involved in the various elements of the competition. Like in many other fields, music is heavily influenced by personal connections. I am thankful for so many of the people that I met and played with during the experience of this competition and its resulting performances. This competition was also an early contribution to my interest in early music and historical performance, which comprises much of the work that I do today.Stephanie Corwin (MQVC 2005), March 2013