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2019 Meg Quigley Vivaldi Competition

January 11-13, 2019
The Colburn School
Los Angeles, California

Host: Richard Beene



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 and who will not have reached their 26th birthday by the date of the Final Round of competition in January of 2019.



The mission of The Meg Quigley Vivaldi Competition is to provide an international competitive experience of the highest caliber for young women bassoonists in the Americas in order to build their confidence, hone their talents, and provide valuable experience towards performance careers. The organization will provide financial support, performance experience, artistic reinforcement, and inspiration through mentorship with world-class musicians and entrepreneurs at a three day symposium. Each competition will feature a required repertoire piece by a living woman composer, and will require speaking from the stage in order to cultivate in the young competitors a commitment to audience engagement and community involvement in the arts.

The name of the competition derives from the rich legacy of composer Antonio Vivaldi (1678-1741), who spent much of his prolific career working at a conservatory for young girls, the Seminario Musicale dell’Ospitale della Pietá in Venice. The spirit of creativity and benefaction of this competition is dedicated to Meg Quigley, an artist who had a passion for assisting young women in realizing their full potential.


Judging will occur in three rounds: preliminary, semifinal, and final.


  1. Antonio Vivaldi: Concerto in F Major, RV 485 (Op. 45, No. 5/F. VIII, No. 8/P. 318)
    Memory Component: in the final round, the Vivaldi will be performed from memory
  2. Cindi Hsu: Spring Fever.
    This work was the winner of the 2018 Bassoon Chamber Music Composition Competition.
  3. Francisco Mignone: 16 Valsas para fagote solo. For the preliminary round, applicants must record “Aquela modinha que o Villa não escreveu,” “Valsa da outra esquina,” and “Valsa improvisada”. In the final round, a selection of any combination from all 16 of the Mignone waltzes can be chosen. Time parameters will be communicated to semifinalists upon their selection.
  4. Alexandre Tansman: Suite.
    The Tansman is for the final round only.

All repertoire is now available at TrevCo-Varner Music and Forrests Music. Spring Fever is also available as a digital download from the publisher, Imagine Music.

Preliminary Round

The preliminary round occurs via recording. Applicants must submit audio recordings of the Vivaldi, Hsu, and Mignone pieces laid out above, with a separate file for each movement of each piece. Piano accompaniment for Vivaldi and Hsu is strongly recommended. Applications and recordings will be submitted electronically. The $75 application fee for the preliminary round also counts towards the registration fee for the 2019 MQVC Bassoon Symposium. All submissions must be received by midnight PST on October 15, 2018.

Semifinal and Final Rounds

Up to ten applicants will be chosen to compete in the semifinal round in a concert format, open to the public, at the 2019 Meg Quigley Vivaldi Competition and Bassoon Symposium. The repertoire for the semifinal round will include portions of the three pieces from the preliminary round. The final round will also take place at the symposium, and will include the same repertoire as well as the Tansman Suite and your selection/s from Mignone. The judges may choose to hear only certain portions of the repertoire. All competitors will rehearse and perform with a professional accompanist provided by the MQVC. The judges may elect to award fewer prizes than outlined above, or no prizes at all. The judges' decision, announced after deliberations immediately following the final round, is final.

Audience Engagement Component: In the final round, the finalist should be prepared to speak to the audience about the works she is performing. These brief introductions to the works (1-2 minutes each) should demonstrate skill in audience engagement as well as knowledge of the work. This unusual element in the competition is in keeping with changing trends in the music industry, recognizing that the relationship between performer and audience has shifted and speaking skills are becoming more and more necessary.


Do you have a question about the competition or the submission process? Please contact Staci Spring, Competition Director, at