This old established and extremely prestigious competition is sponsored by the Broadcasting Corporation of the Federal Republic of Germany (Western Germany). It is excellently managed, and in a most friendly way. I dealt with administrator Renate Ronnefeld who was charming and helpful throughout.
The competitions are for varying instruments each year: in 1981, for Piano, Violin, Oboe, Trombone, and Trio for Piano and Strings. Each Jury is separate (indeed, except at two parties given by the Radio, one does not see jurors or competitors from other panels). It consists of performers and teachers of the instrument concerned, with a chairman who may be an all round musician of repute, or a player or teacher of another instrument. Our excellent Chairman, Paul Meisen, is a flute player. Each Jury has a secretary who, with the chairman, calculates marks etc. and generally looks after the jury. Ours was Verena Maschat, who could not have been more efficient, nor more friendly and helpful. Though she told me that she is not a musician (her specialty is dance) she is obviously extremely musical and very knowledgeable about oboe playing and repertory. Neither she nor the Chairman take part in the actual voting (unless the need should arise for the Chairman's casting vote) but guidance regarding rules and procedure and their help in all sorts of ways was invaluable. Certainly they contributed greatly to the delightfully friendly atmosphere which prevailed during the two weeks we were all together.
We all got on splendidly and although, obviously, we varied in our private markings, our final decisions (sometimes reached after amicable and tolerant discussion) were unanimous.
The Jury were asked not to divulge the actual method of marking and voting, so I can say only that it is ingeniously simple and entirely fair. I honestly consider that it would be impossible for any false or biased result to be reached.
Truly the competition deserved the title International. In alphabetical order, the eight oboists on the jury were: myself (Great Britain), Radu Chisu (Romania), Ingo Goritzki (West Germany), Helmut Hucke (West Germany), Andre Lardrot (France), Walter Lehmayer (Austria), Jiri Mihule (Czechoslovakia), and Ivan Puschetschnikov (Russia).
Remarkably, we managed to converse in a variety of languages (perhaps it would be more accurate to say that we "pigeoned" along with gestures!) and to become very good friends. Of course interpreters were available for any serious jury discussions.
Not only the juries but the competitors came from many countries (from 15 in the case of the competitors!), so the differences in style were most interesting. I asked our secretary, Verena Maschat, whether applicants had to send a tape, or any other evidence of their capabilities. She said no, because the very exacting obligatory repertory should dissuade inadequate players from entering. The 1st test (they use the word test instead of round) sorts out the men from the boys (the sheep from the goats!) -- in fact the potentials from the impossibles. On our lists there were 51 entries, of which 13 scratched. Of the remaining 38 candidates, 16 went through to the 2nd test, 7 of these to the 3rd test, and 3 to the final.
The repertory was indeed alarmingly exacting. Test 1, Strauss Concerto (from memory) and one work of the competitor's choice, lasting not more than 8 minutes. Test 2: Bach Sonata in G minor, BW 1030 (the long one!) and a choice from Molique Concerto, Kalliwoda Morceau de Salon, and Pasculli Concerto su motivi del opera "La Favorita" of Donizetti. Test 3: Berio Sequenza VII for oboe solo, a choice from Dutilleux Sonata, Milhaud Sonatina, Hindemith Sonata, and the Mozart Concerto in C (from memory). For the final, only the Mozart Concerto with orchestra (from memory).
The standard was really very high, particularly technically, but it is rare to find a player who is in complete command technically AND musically, and who also has a real performer's personality of vitality and projection. The Jury decided unanimously that the final result would be NO 1st prize, but one 2nd prize and two 3rd prizes.
The winner, with 2nd prize, was Klaus Becker, a West German of 29 years old who is principal oboe in one of the good German orchestras. Throughout the competition his playing was technically impeccable, musically phrased with a very pleasant tone and excellent intonation. Really the only quality he lacked was a performer's personality and projection and this lack prevented his being awarded the coveted and very prestigious 1st prize. This is often withheld (in other classes also) so that any 1st prize winner at the Munich competition must be indeed an exceptional player. (Among successful oboe winners have been Heinz Holliger and Maurice Bourgue!)
The two 3rd prize winners were both young and very talented, with interestingly different styles. Neither of them seemed particularly happy musically with the Mozart Concerto but both are excellent potentials and all the jury hoped that they would return for the next competition (in about 5 years time). The upper age limit for entry is 30, which does give young performers the chance to have at least two bites at the cherry!
One of the 3rd prize winners was a 20 year old Frenchman, David Walter. His playing is very refined and beautifully polished and controlled. He plays always with great taste and charm and personality. It is at times rather small (musically and tonally) -- at moments almost niggly, but he did some lovely things in the course of the competition and gave us all great pleasure. At the moment, in the bigger classic works -- which certainly must include the Mozart Concerto -- he is a little lacking in a long line and large conception.
The other 3rd prize winner was the 18 year old Dutchman, Mechiel van den Brinck. He has a very strong personality of great vitality and projection. His playing is that of a young man (understandably!), at moments a little over individualistic, sometimes a little unfinished musically and even technically, but he plays in a really soloistic way with great conviction.
It will be interesting to hear what happens to these two most gifted young men.
In addition to the official prizes (2nd, 5,500 DM, 3rd, 4000 DM) the organizers of the competition asked the jury to suggest any young players of particular promise who might be given a modest reward financially and an encouraging letter. As these awards are not to be used for publicity, I cannot give the names of the three young players who were honored in this way -- a Briton, a Czech, and a Swiss. The Jury were unanimous in choosing them and all of us considered them potentials of genuine talent.
While on the subject of finance, I should mention that the entrance fee was only 50 DM. For this very modest sum, the candidates were given accommodation and continental breakfast from the two days before their first test, and throughout the time of their official participation in the competition. From the 2nd test on, successful candidates were provided also with lunch and supper.
Details of the next oboe competition (which is unlikely to take place before 1985 or 1986) may be obtained from Internationaler Musikwettbewerb, Bayerischer Rundfunk, D 8000 MUNICH 2, West Germany.
To sum up, I can think of no more pleasurable engagement than to be a member of the International Jury in Munich. Absorbingly interesting and stimulating, an entirely friendly and enjoyable atmosphere, in a lovely city. I was indeed fortunate! All the competitors with whom I talked said that it had been a wonderful experience in every way. New friends were made, ideas exchanged, and they got a realistic idea of standards by listening to others. Also, once eliminated from the competition, they could talk freely to members of the jury, and ask for criticisms of their playing.
Most heartily and unreservedly I can recommend the International Music Competition in Munich.