Category #1: Organ

(1) Are complete and specific registration indications required, or
would general dynamic and timbre indications be acceptable ?
Complete registrations indications are not required, since this will be the organist work. What you can do is indicate general dynamics, provided they are specific to Saint-Sulpice great organ.
(1) Is it allowed to also send an audio recording of the piece I’ve composed ?
You can send a recording of your piece, however, and since such recording is not requested under the competition rules, it will not be transmitted to the jury for evaluation of your piece.
(1) Although the score must be anonymous, can we still indicate a title?
Yes, it will be taken into account by the jury for its evaluation of the work.
(1) Is it possible to play glissandi on the keyboards of the great organ?
Sure. On the following link, you can hear a fine example in Rolande Falcinelli’s Gloria from the Mystère de la Sainte-Messe at 10min53:
The glissando can’t be played much faster than Yves Castagnet does, if you want all the notes to have time to sound properly.

Categories #1 & #2

(1+2) Is the 7 minute time limit a firm limit, or would a 9-10 minute
piece be acceptable?
The 7 min limit is not firm in the meaning that the jury will accept that the piece takes a little longer to be interpreted during the finale (church accoustic parameter, interpretation), for instance 8 min’ would be OK.
But, for equality reasons this will not be fair towards other candidates to have a 9-10 min long piece.
(1+2) Is it compulsory for the finalist composers to attend the public final?
NO. Our competition has no geographical limits. The competition Rules precise that “Partner Organists and candidates are invited to work together for the Final”: this can be done remotly with emails, Skype, Whatsapp, etc. Also, the announcement of the results on the Final evening can be done remotely (Skype, Zoom…).

Category #2: Choir organ & voices

(2) Since the Pedal of the choir organ is quite limited, is it possible to write the score on 2 staves ?
(2) How should the separate parts to the singers be sent ? Will each part have the organ part or only on stave for the respective soloist?
Other candidates have sent the entire score (organ + voices), and separate voices parts (without the organ part).
(2) Does the definition “sacred text” include only texts of the Roman Catholic liturgy? Why did you reduce it to Latin and French?
As you have noticed, we have chosen a broad and open definition of texts that can be proposed, without specifying any particular religion. However, we have imposed a “sacred” text, because the final will take place in a church.
Regarding the language, we need to restrict to Latin and French because of the singers and the rehearsal time planned and budgeted by the Sequenza vocal ensemble.
As the organizer of the competition, AROSS does not have to position itself on the sanctity of a particular text. It will be up to the jury to appreciate this point, along with the musical interest of the play as a whole.
(2) Is it possible to quote another theme, for example a Gregorian melody, in the choir & organ piece?
(2) How does the “Cor anglais” on the choir organ “Récit” keyboard sound ?
The Cor anglais sound like a kind of Oboe, with a more relatively “round” sound.
(2) Regarding the “Cor anglais” on the Récit keyboard of the choir organ, is this stop included on the “Appel Anches Récit”, or does it act like a foundation ? What about the “Grand orgue” keyboard ?
On the choir organ, there is no “Appel Anches Récit”, all the stops of the Récit are on the same “laye”. There is only an “Appel Trompette Récit” pedal.
On the “Grand orgue” keyboard, there is a “laye des anches” with Octave 4, Flute harmonique 8, Quinte 2 2/3, Doublette 2, Plein jeu, Basson 16, Trompette 8, Clairon 4. And of course a pedal “Appel des jeux de combinaison GO”.
(2) Could you describe the “Plein jeu” of the choir organ “Grand orgue” keyboard ?
The “Plein jeu” has 3 ranks and result in 8′.

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