Entry Information

Repertoire Requirements

Performance of works by memory is encouraged (e.g. concerti). Entrants may perform with music when presenting a collaborative work (e.g. a sonata)

Heats: A video recording of one or two works with a total performance time of up to 10 minutes. This must be a recorded performance made in 2025, filmed in a single take and without edit. The video recording and supporting documentation must be uploaded to the Sydney Eisteddfod Entrant Portal by 4.00PM on Monday, 28 April 2025

Semi - Final: Sunday 1 June 2025 | Chippen Street Theatre

Up to 12 Junior entrants will be selected to give a live performance of two contrasting works which must vary in style and period. The performance must not exceed a total duration of 10 minutes. Please note that the time limit includes the time taken between pieces/movements. Selection of works cannot include items performed in the Heats.

Final: Saturday, 5 July 2025 | Sydney Conservatorium, West Recital Hall

Up to 5 entrants will be selected to present a recital program of works varied in style and period which may include works from the Semi-Finals. The performance duration for the Junior Scholarship is up to 10 minutes (includes the time taken between pieces/movements).

Adjudicators

Ms Tahlia Petrosian

Violist Tahlia Petrosian enjoys a multi-faceted career as a soloist, chamber musician, director of KLASSIK underground, creative producer and member of the Gewandhaus Orchestra Leipzig. One of the foremost innovators who is transforming classical music in the 21st century, Tahlia is much sought after as a consultant and creative producer for leading orchestras, arts organisations and artists for new concert formats and special projects in Europe, the US and Australia. As a soloist and chamber musician, Tahlia has performed in Wigmore Hall, the Sydney Opera House, the Semperoper Dresden, the Berliner Philharmonie, the Gewandhaus Leipzig, at Tanglewood Music Center, and directly on 5th Avenue in New York. Her chamber music partners have included Leif Ove Andsnes, Joshua Bell, Gautier Capuçon, Leonidas Kavakos and Nikolaj Szeps-Znaider. Having studied with Tabea Zimmermann and Wilfried Strehle in Berlin, Tahlia’s individual playing style has been has recognised with awards from the Australia Council, the Australian Music Foundation in London, the Paul Hindemith Gesellschaft in Berlin, the DAAD and the Dame Joan Sutherland Fund in New York. She has been a member of the Gewandhaus Orchestra since 2012 and also performs with the Australian World Orchestra. Tahlia has taught at the Guildhall School in London and at the Australian National Academy of Music in Melbourne. In 2016, Tahlia created KLASSIK underground, working with artists including Joshua Bell, Gautier Capuçon, Alan Gilbert, Leonidas Kavakos, Anne-Sophie Mutter, Andris Nelsons, Jean-Yves Thibaudet and Jörg Widmann to present classical music in an innovative format. In addition to these aftershows with world-class soloists, KLASSIK underground presents original and modern shows where classical music interacts with other art forms including dance, street art, video installation and theatre. In 2019, Tahlia took on the role of Creative Producer at leading music agency HarrisonParrott in London, where she developed special projects for institutions including Tate Modern and the BBC, and was the producer for the highly successful “50 Years in a Day” concerts at Southbank Centre for the 50th anniversary of HarrisonParrott. Tahlia also directed the national music programs of the Norwegian arts organisation, “Talent Norge”, in 2019. Tahlia has been a guest speaker at the Karajan Conference Salzburg, the ARTS+ Conference Frankfurt, the Avant Première Music + Media Market Vienna and the national Deutscher Orchestertag in Berlin. At the 2022 Edinburgh International Culture Summit at the Scottish Parliament, Tahlia presented on “Culture and Education” together with Andreas Schleicher, Director of Education at the OECD.

Dr Peter Tregear OAM

Peter Tregear OAM is currently an adjunct Professor of the University of Adelaide and a Principal Fellow of the Melbourne Conservatorium. Initially trained as a flautist and pianist, he later undertook doctoral study in music at the University of Cambridge where he was appointed a lecturer and director of music, and took up professional singing and conducting. He has subsequently worked extensively across Australia and Europe in opera, choral, and concert music. Major performances include conducting the modern revival of Anna Amalia’s Erwin und Elmire for the Ekhof-Festival in Gotha, Germany, collaborating with the Kronos Quartet in the Australian premiere performances of Terry Riley’s Sun Rings as part of the Melbourne Festival, appearing with The Rolling Stones in their last Australian tour, conducting the Australian premiere of Ernst Krenek’s opera Jonny spielt auf, and more recently a new production of Brecht and Weill's Rise and Fall of the City of Mahagonny. Operatic roles he has performed include Colline, Benoit, & Alcindoro (La Bohème), Belcore (L’Elisir d’amore), Elmiro (Rossini’s Otello), Haly (L’Italiana in Algeri), Pluto (L'Orfeo), Don Alfonso (Così fan tutte) and Hans Foltz (Die Meistersinger von Nürnberg). In 2009 he was appointed Director of the Academy of Performing Arts at Monash University and, from 2012–2015 he served as Professor and Head of the ANU School of Music in Canberra. He was also the founding Chair of the Board of Trustees, of the Australian Music Foundation (Australia), which supports the further development of Australia's finest young musicians. In 2020 he was awarded the Medal of the Order of Australia (OAM) for services to music education. He also writes regularly on music and arts-related topics for The Conversation, Limelight, and Australian Book Review. He is the author of Ernst Krenek and the Politics of Musical Style (2013), Enlightenment or Entitlement: Rethinking Tertiary Music Education (2014), and Fritz Hart: An English Musical Romantic at the Ends of Empire (2024), the latter co-authored with Anne-Marie Forbes.

Important Notes

All entrants are to submit a video recording for the heats via the Sydney Eisteddfod Entrant Portal. Please ensure you have all required supporting documentation ready for upload at the time of submitting your application. The video submission must be uploaded to the Sydney Eisteddfod Entrant Portal by 4.00 PM on Monday, April 28 2025

Entrant’s video submission must be a YouTube or Vimeo link. Please clearly indicate the work’s title and composer, along with the name of the entrant’s first and last in the title and/or description box (eg. Emily Jones_ Prelude and Allegro_Kreisle ). Please ensure the privacy settings of your upload allow third party viewing so our panellists can view.

The following documentation is required when completing your application:

* A 150-word biography

* A short (maximum 300-word) statement outlining your current and proposed studies, and how the Sydney Eisteddfod NSW Doctors Orchestra Instrumental Scholarship might help you.

* A publicity picture in colour as a JPEG file - in high resolution (minimum 2M.B.)

Upon progression to the Semi-Final, entrants will be asked to list their proposed repertoire for the Final. Please use the following format when listing your proposed works for later rounds (including complete titles for all movements, if applicable)

Semi - Final: Accompanied by XXX

1. La Fontaine d'Arethuse Op. 30 by Karol Szymanowski (6:00 mins)

2. Nigun No. 2 from 'Baal Shem' Suite by Ernst Bloch (6:00 mins)

Final: Accompanied by XXX

1. La Fontaine d'Arethuse Op. 30 by Karol Szymanowski (6:00 mins)

2. Nigun No. 2 from 'Baal Shem' Suite by Ernst Bloch (6:00 mins)

3. Violin Concerto No. 1 in G minor Op. 26 by Max Bruch (8:30 mins)

iii. Finale. Allegro energico

Changes to repertoire cannot be made any later than the fortnight leading up to the Semi-Final. Entrants will be notified if their repertoire is considered unsuitable for the later rounds.

Conditions

1. Previous winners not eligible.

2. Event is open to any instrumentalist who is a citizen or permanent resident of Australia or New Zealand. ~ Residency and proof of age documents will be cited by Sydney Eisteddfod staff upon progression to the Semi-Final. This can include a Birth Certificate, an Australian or New Zealand passport, or a permanent resident stamp. A driver’s licence is not acceptable.

3. Adjudicator reports will be written for the heats only. No marks will be given on these reports.

4. Accompaniment: Performances are for solo instrument with acoustic piano accompaniment unless the work chosen was composed specifically for solo instrument without accompaniment. No Official Accompanists are provided.

5. Up to five Finalists and two Reserve Finalists will be selected from the Semi-Finals.

6. The awarding of the scholarshisp is at the discretion of the adjudicators and is given on the understanding that the winner will undertake study in music performance, including tertiary studies, masterclasses, private lessons, solo and chamber music recitals - both domestically and/or internationally.

7. In awarding the scholarship the adjudicators will take into consideration presentation, current level of achievement, commitment to professional development and artistic potential.

8. The scholarship must be utilised within two years of winning and completed within two years thereafter. The payment of instalments is upon application to Sydney Eisteddfod with satisfactory reports of progress from the winner's teacher or teaching institution.

9. The Winner and Finalists must be reasonably available for media interviews and performance engagements. Sydney Eisteddfod will endeavour to continue to provide performance opportunities to alumni as a way of staying connected and nurturing the creative practices of all.

10. Please refer to the Instrumental Category Rules & Conditions of Entry.

Prizes

Junior Scholarship: $3,000 ($500 cash plus a $2,500 Scholarship). From The Brian Shearman Memorial Trust Fund, established by his Family & Friends.

Junior Finalists: $250 each (excluding place-getters). Sponsored by The Brian Shearman Memorial Trust Fund, established by his Family & Friends.