The Munich Competition (to give it its full title, Internationaler Musikwettbewerb) is surely one of the most important and prestigious in the world, especially for wind players. Perhaps it is not generally known that every year there are four or five competitions, for various instruments and voice. Each "discipline" comes round every five years or so. As the last one for oboe was in 1981 and I am writing about 1986, the next is likely to be 1991. This year (1986) the "disciplines" were oboe, trumpet, cello, singers and piano duet, all held in separate halls and with separate juries. There were three times the number of oboe entries there were in 1981. 97 were on our list, and after cancellations we actually heard 70.
When I served on the jury in 1981 I was curious to know if the number of competitors is limited, and if so, how. The answer was that the number is automatically limited by the extreme difficulty of the repertory, so that only players with a real command of their instrument and some experience of performing would dare to enter!
This year the obligatory pieces for Round 1 were the 1st movement of the Bach Sonata in G minor, BWV 1030 (this is the very long and taxing G minor one) and the Ist and 2nd movements from the Oboe Concerto by Zimmermann. The Bach is of course very exacting musically and needs really good control; the Zimmermann, though not an avant garde work, is frighteningly difficult technically. I must confess - and the same goes for the rest of the jury - that I did not like this work at all and by the time we had heard it 70 times we had all grown to dislike it intensely! Most of the candidates had a good try at playing the notes of this Concerto, indeed some played it technically very well, but sadly few gave us any real musical satisfaction in the Bach. The general tendency was to try to make the repetitive phrases "different" by using, for example, very short staccato notes, unsuitable phrasing, exaggerated dynamic effects, etc., thus destroying the grand and noble lines of this great music. No marking was needed for this round - the jury members simply put Yes or No on the forms. Out of the 70 players we heard, only 10 were put through to Round 2.
The second round concerned three works of differing styles and periods.
a) A choice of classical sonatas or concertos by such composers as Handel, Vivaldi, Telemann.
b) A choice of avant garde works by such as Berio, Stockhausen,
Holliger.
c) A choice of 19th century virtuoso works by, for example Kalliwoda,
Ponchielli, Rietz.
This very exacting round was marked by the jury, and the competitors
with the highest marks went on to Round 3. Only 4 were chosen
from the 10.
Round 3 consisted of two works, the Three Romances by Schumann and the Concerto by Martinu. This round was played in a larger hall - very dead and not easy acoustically. Again marks were given and there was also a discussion in order to choose the three finalists, who had to play the Mozart Concerto in the large Herkulessaal, with orchestra. These final performances were discussed by the jury and we reached a unanimous decision without difficulty. We decided that nobody was worthy of the very sought-after and seldom-awarded first prize. We gave one second prize, to the West German Volkmar Scholler, and two third prizes, to the Englishman Nicholas Daniel and another West German, Fabian Menzel. In making the decision we took into consideration also the performances of the three finalists in the 2nd and 3rd rounds. For instance, we remembered with pleasure Scholler's playing in Round 2, Daniel's performance of the Martinu in Round 3, and Menzel's Mozart in the Final.
The Munich Competition is truly international. The 97 entrants were from 21 countries; the jury of 9 from 8 countries (although unfortunately the Swede, Tivadar Bantay, had to cancel). The jury consisted of two West Germans, Ingo Goritzki and Gunther Passim; Walter Lehmeyer (Austrian), Anatoly Lubimov (Russian), Seizo Maruyama (Japanese), Hans Pischner (East German), Pierre Pierlot (French), myself (English) and our Chairman, Pierre Colombo, who also took part in voting and discussions, (Swiss). Of our number two were not oboists: Hans Pischner was the conductor of the East Berlin Opera, and Pierre Colombo conductor at present of the Tonhalle Orchestra in Zurich and also the Chairman of the Society of International Competitions.
It will I'm sure be interesting for you to hear a little about the jury work. We worked very hard this year because of the large number of entries compared with previous competitions (but the same amount of time allowed for the hearings) and for the first 8 days we adjudicated 8-9 hours or so daily; in all we were there for 12 days. However this heavy schedule was made much easier because the members of the jury got on so well and were in amicable agreement over any matters discussed. The days are well arranged; a morning session 3-4 hours and an afternoon one of approximately the same duration beginning at 4:30 or 5 p.m. This long midday break is really very sensible and helpful - one returns for the second session refreshed and with a clear mind. The system of marking is excellent and absolutely fair; there is really no opportunity for any sort of "fiddling"! If any player's teacher is on the jury, he or she does not mark nor take part in any discussion, and for the major decision for the final he or she actually leaves the room. Language is no problem. It's remarkable how well you can "pidgeon" along if you know what you are talking about! But interpreters are always available for the jury's discussions - two official interpreters, both first class, were always present at our sessions. This was really necessary for the Russian jury member; the Japanese had his own interpreter - a keen oboe player!
Several copies of music being played were available. The pianos used are very good. The pitch is higher than most of us in England and the USA are used to, and one or two competitors from other countries had a little difficulty. But if you have time, and rooms provided for practice, etc., there is no great problem in altering the length of the tube or the reed itself, or just making another one! And the large majority had no trouble at all. The resident pianists, available for those who do not bring their own partner with them, are very good indeed. The small hall, where the early rounds are held, is most suitable. Incidentally all rounds are open to the public as well as to competitors and there is usually a good audience. All in all, this competition is superbly well run; those concerned are not only efficient but kind and caring and ever-helpful.
Judging from the competitors with whom I spoke, they thoroughly enjoy their time in Munich. They are accommodated in good hotels and given generous meal vouchers to use where and when they please, for as long as they are in the competition. After they are eliminated they may stay on, but at their own expense. Many do, and have a brief holiday sightseeing as well as oboe-listening. Munich is a most attractive town with much to see, excellent pedestrian precincts for shopping, restaurants at all prices, good buses and tubes, and wonderful picture galleries. The competitors learn a lot and have a good deal of fun in addition to much hard practice! They may talk to the members of the jury to ask advice, get criticisms, find out why they did not succeed etc. etc. This in itself is likely to be very valuable. The officials looking after them are always helpful and efficient. For those who get to the semifinal (and for the jury) there are excellent parties, run by the Radio organizers of the competition, with generous and delicious food and drink!
Competitors seem to find the atmosphere friendly and warm both with the officials and with their colleagues.
There must always be criticisms about any competition I'm afraid. One player (a good one, who did well) talked to me resentfully about the unfair bias of the West German jurors against players of other nationalities. To my certain knowledge this accusation is baseless and utterly untrue. The system of marking (and of the teacher not judging his or her pupil) would make any such bias or favouritism impossible. The competitor making this wrong and unjust accusation can only be making excuses for himself!
So - if you think of entering the lists for Munich in 1991 (or whenever the next oboe or bassoon competition may be held) be assured that you will have a most interesting, fruitful and delightful time, and that your playing will be carefully and fairly adjudicated.
Bear in mind that the jury all found the general technical standard very good indeed, but the standard of musicality and of beauty of tone was much lower, and players of real performing personality were very rare.
Immediately after the excitements of Munich I went to Sweden for exciting experiences of a slightly different kind. In Umea - a port of approximately 85,000 inhabitants well north of Stockholm (1 hour's flight) near the Arctic Circle. The occasion of my visit was for me to take part in the opening ceremonies of a most beautiful complex of halls, theatre, restaurants, etc., a sort of mini Lincoln Centre, called the Folketshus.
It is not only practical, with the most modern equipment for the theatre, for altering the acoustics of the concert hall, etc., etc., but it is most beautifully finished inside, with much polished birchwood used and some lovely decorations. Truly it is a cultural centre of which any city in the world could be proud. There were many ceremonies and performances connected with the opening; I gave a workshop and a lecture and did the same at a flourishing Music College 200 or so kilometres north of Umea. I had the great pleasure of staying with my old friends Jan and Elsi Ekstedt. Jan is a neurologist of distinction but also an amateur oboe player of great knowledge and enthusiasm. He has a vast collection of oboe music and oboe recordings of which I heard many. He arranged also for me to spend some hours with the two oboe players in the orchestra - both very good players. Jan himself is a rare amateur who produces a lovely sound and makes his own really first class reeds! They played trios, and we had most enjoyable oboe talk. However, the real thrill of this short time in Sweden was hearing (I'm ashamed to say for the first time) the great East German player Burkhard Glaetzner, on many records and also on video playing the Mozart Quartet. Sadly the records are not easily obtainable. In fact, they are almost impossible for us to buy in Western Europe and probably I imagine in USA. Glaetzner is a very remarkable player of tremendous personality and vitality, excellent technique, and musically fascinating. His playing is very individual, very free - some might say too individual and too free - and really arresting. It is always difficult to judge tone without hearing the player "in the flesh". On the records it is a fine sound, a little on the reedy side, but still full and even over the instrument. Impeccable technically and as I've said musically very interesting and quite fascinating.
Burkhard said to someone that Jan Ekstaedt knows more about the oboe than any professional player, which I'm sure is true! For me it was altogether a most delightful time. If anyone would like to contact Jan Ekstaedt with questions about recordings, etc., his address is Johannelundsvagen 12, Umea, S-902 39, Sweden. He is of course a very busy man professionally but he enjoys contact with oboists.
It is his hope and mine that perhaps we can get Glaetzner to one of the I.D.R.S. meetings.