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Every year, one deserving COS member is chosen through a competition to perform as soloist with the YSE in the annual COS Discovery Gala Concert, sharing the evening’s spotlight with some of world’s most established concert artists at a major concert venue in New York. Past guest artists, among many others, have included Emanuel Ax, Cecile Licad, Richard Stoltzman, Soovin Kim, Jaime Laredo, Sharon Robinson, and Yo-Yo Ma.
Holding to its principles of “Teaching Children the Language of Music”, this competition provides students an additional incentive to learn to work towards a standard of excellence, giving them the opportunity to grow immensely through its preparation. As the 11th Discovery Winner Pamela Sundelacruz describes the experience: “...everybody that enters would like to win. But there are no guarantees. While winning the competition can serve as motivation, I think each participant needs to have another aim — a focus on improving. These two ideas are related but not at all the same. Only one person wins the competition. However, every participant can succeed in improving — whether in technique, expression, or even performance. Once they are determined to improve, I have no doubt that there will be positive results.”
In 1984, Artistic Director Michael Dadap and Executive Director Dr. Yeou-Cheng Ma took over the directorship of COS with a vision to revive the orchestra through extensive music programs and performance opportunities. Their vision became a reality in less than five years, and their pursuit for developing a “whole musician” has attracted hundreds of children to the once eighteen-member orchestra. In 1993, as COS prepared for a concert with Yo-Yo Ma and the YSE, the Board suggested posting an ad in a major New York publication. Mr. Dadap instead convinced the Board to direct those funds toward scholarships and the launch of what would become the Discovery Competition.
Inspiration for the Discovery Competition came from the Avery Fisher career grant, which is given to artists after long observation of their dedication, performance, and focus. During the initial years of the Discovery Competition, the COS Directors nominated deserving members based on year-round performance, and a non-COS jury was invited to adjudicate. To keep pace with the growth of the Discovery Competition, the process has been refined over the years to allow every motivated student to participate, and to thus best fulfill the COS philosophy: to help children grow musically and mature as performers through this experience.
The Discovery Competition is open to all COS instrumentalists in good standing who have had at least one year of residency at COS
The Junior Division is open to applicants who have not reached their 15th birthday by April 2023. There are no age requirements for the Senior Division.
Students entering on an orchestral instrument must be enrolled in a COS orchestra.
Students who wish to compete on the piano or other non-orchestral instruments must be enrolled in Chamber Music on that instrument. They must also be enrolled in an orchestra on a secondary instrument.
Without exception, all candidates must be enrolled in a COS program with the instrument on which they are competing.
The Competition consists of two rounds (three, if necessary). Each round must be well-prepared to a high performance standard.
Musical artistry, mastery of the instrument, and presentation are the main factors of consideration.
Memorization of the “Concerto of Choice” is required in all rounds for Senior Division candidates. For Junior Division candidates, memorization is optional, but strongly preferred.
In any given round, the Jury reserves the right not to listen to a candidates repertoire in its entirety.
A winner of the Competition cannot compete again the following year in the same division.
A candidate who reaches the Final Round cannot submit the same “Concerto of Choice” the following year
The repertoire consists of two parts:
Selection(s) from the list of Required Repertoire (see below).
Two contrasting movements, including cadenzas, from the “Concerto of Choice.” The candidate must present the same two movements in all rounds. See “Final Round” below for regulations.
Works selected from the list of required repertoire must be different than the “Concerto of Choice”.
The Jury reserves the right to not listen to a candidate’s repertoire in its entirety.
The repertoire is the same as that of the final-round.
The Repertoire:
Two contrasting movements from a “Concerto of Choice” in their entirety, including all cadenzas –OR–
A one-movement concerto or concertino, must be pre-approved by the Music Director. A candidate may also petition to compete with only one movement if it exceeds 16 minutes in length. Requests for pre-approval or petition should be submitted in writing as early as possible before the application deadline.
The selection must have an existing and available orchestration.
The Candidate must present their selection with an accompanist, and the accompanist must make appropriate and smooth cuts of longer tutti sections. The concluding movement must have a finishing cadence and may not end on a suspended chord leading into the next movement in attacca.
Memorization of the “Concerto of Choice” is required in all rounds for Senior Division candidates. For Junior Division Candidates, memorization is optional, but strongly preferred.
If fewer than four contestants are selected to proceed to the Semi-Final Round, it will then be announced as the “Final Round.”
The Junior Discovery Winner will perform as the featured soloist with the YSE in a season concert. They will receive publicity for the concert.
Winners and Finalists of both Divisions must perform their “Concerto of Choice” in the Discovery Recital and Awards Ceremony (October 26, 2024 ).
All awardees must continue to display exemplary citizenship and be present for their performances or will forfeit the title and performance opportunities.
The Jury reserves the right to declare “no winner” if none of the candidates display a Discovery Winner’s standard.
The repertoire consists of two parts:
Selection(s) from the list of Required Repertoire (see below).
Two contrasting movements, including cadenzas, from the “Concerto of Choice.” The candidate must present the same two movements in all rounds. See “Final Round” below for regulations.
Works selected from the list of required repertoire must be different than the “Concerto of Choice”.
The Jury reserves the right to not listen to a candidate’s repertoire in its entirety.
The repertoire is the same as that of the final-round.
The Repertoire:
Two contrasting movements from a “Concerto of Choice” in their entirety, including all cadenzas –OR–
A one-movement concerto or concertino, must be pre-approved by the Music Director. A candidate may also petition to compete with only one movement if it exceeds 16 minutes in length. Requests for pre-approval or petition should be submitted in writing as early as possible before the application deadline.
The selection must have an existing and available orchestration.
The Candidate must present their selection with an accompanist, and the accompanist must make appropriate and smooth cuts of longer tutti sections. The concluding movement must have a finishing cadence and may not end on a suspended chord leading into the next movement in attacca.
Memorization of the “Concerto of Choice” is required in all rounds for Senior Division candidates. For Junior Division Candidates, memorization is optional, but strongly preferred.
If fewer than four contestants are selected to proceed to the Semi-Final Round, it will then be announced as the “Final Round.”
The Senior Discovery Winner will be named the year’s Discovery Winner, receive publicity, and perform as a soloist with the YSE in the Discovery Gala Concert at a major New York City concert venue.
Winners and Finalists of both Divisions must perform their “Concerto of Choice” in the Discovery Recital and Awards Ceremony (October 26, 2024 ).
All awardees must continue to display exemplary citizenship and be present for their performances or will forfeit the title and performance opportunities.
The Jury reserves the right to declare “no winner” if none of the candidates display a Discovery Winner’s standard.
Violin
Movement(s) of an unaccompanied work by Bach (see note below) –OR–
One movement of a Mozart Concerto
Viola
Movement(s) of an unaccompanied work by Bach (see note below) –OR–
Two contrasting movements of an Eccles Sonata
Cello
Movement(s) of an unaccompanied work by Bach (see note below) –AND/OR–
1st movement of J.C. Bach Concerto in C minor –OR–
1st movement of Sammartini Sonata in G major
Double Bass
Two contrasting movements of a Marcello Sonata or a Vivaldi Sonata
NOTE: When selecting movements of a work by Bach, the total duration should not be significantly different from that of the alternative choice.
Flute
Two contrasting movements of a Mozart Concerto
Oboe
Two contrasting movements of the Mozart Concerto –OR–
Two contrasting movements of a Sonata by one of the following composers: Handel, Telemann, or Vivaldi
Clarinet
One etude of choice from David Hite “Melodious and Progressive Studies for Clarinet, Book 1”
–AND/OR–
One movement of the Stamitz concerto –OR–
One movement of the Schumann Fantasy Pieces
Bassoon
Two contrasting movements of the Mozart Concerto –OR–
Two contrasting movements of the Telemann Concerto in F minor
BRASS
French Horn
1st movement of Mozart Horn Concerto Nos. 2, 3, or 4 –AND–
One etude from Kopprasch Book One or Book Two
Trumpet
Concert Etude by Goedicke –OR–
J.B. Arban Fantaisie and Variations on a Cavatina from Beatrice di Tenda or Fantaisie Brillante
Trombone
1st and 2nd movements of Galliard Sonata No. 1
–OR–
1st and 2nd movements of Telemann Sonata in F minor
Tuba
Concertino by Frackenpohl –OR–
Air and Bourée by Bach/Bell
Percussion
Jacques Delecluse Douze Etudes Etude No. 1 –AND–
Mitchell Peters Yellow After The Rain
Timpani
Goodman Modern Method for Tympani: Etude No. 34
Piano
J.S. Bach Sinfonia (also known as a 3-part Invention) –OR–
A Prelude and Fugue from WTC I or II, except WTC 1 No. 1 –OR–
Two contrasting movements from a Sonata by Clementi, Haydn, Mozart, or Beethoven
Violin
Movement(s) of an unaccompanied work by Bach (see note below) –OR–
One movement of a Mozart Concerto
Viola
Movement(s) of an unaccompanied work by Bach (see note below) –OR–
1st and 3rd movements of Haydn- Piatigorsky “Divertimento”
Cello
Movement(s) of an unaccompanied work by Bach (see note below) –OR–
2nd or 3rd movements of Haydn Concerto in C Major –OR–
1st or 2nd movements of Boccherini Concerto in B-flat Major
Double Bass
Two contrasting movements of a Marcello Sonata or a Vivaldi Sonata
NOTE: When selecting movements of a work by Bach, the total duration should not be significantly different from that of the alternative choice.
Flute
Two contrasting movements of a Mozart Concerto
Oboe
Two contrasting movements of the Mozart Concerto –OR–
Two contrasting movements of a Sonata by one of the following composers: Handel, Telemann, or Vivaldi
Clarinet
One etude of choice from David Hite “Melodious and Progressive Studies for Clarinet, Book 1”
–AND/OR–
One movement of the Stamitz concerto –OR–
One movement of the Schumann Fantasy Pieces
Bassoon
Two contrasting movements of the Mozart Concerto –OR–
Two contrasting movements of the Telemann Concerto in F minor
BRASS
French Horn
1st movement of Mozart Horn Concerto Nos. 2, 3, or 4 –AND–
One etude from Kopprasch Book One or Book Two
Trumpet
Haydn Concerto in E-flat –OR–
Arutunian Concerto for Trumpet –OR–
Kent Kennan Sonata for Trumpet and Piano
Trombone
Concertino by David –OR–
Morceau Symphonique by Guilmant
Tuba
1st movement of Vaughan Williams Concerto for Bass Tuba –OR–
1st movement of Gregson Tuba Concerto
Percussion
Jacques Delecluse Douze Etudes Etude No. 1 –AND–
Mitchell Peters Yellow After The Rain
Timpani
Goodman Modern Method for Tympani: Etude No. 34
Piano
J.S. Bach Sinfonia (also known as a 3-part Invention) –OR–
A Prelude and Fugue from WTC I or II, except WTC 1 No. 1 –OR–
Two contrasting movements from a Sonata by Clementi, Haydn, Mozart, or Beethoven
1. Brief biography (in either text or point format. Please list past and current teachers, music-related activities and recognition received)
2. A one-page essay on ONE of the following topics:
“My plans after the competition”
“Necessary steps to prepare for an audition/competition”
3. An accompanist is required for all works where a piano accompaniment is available. It is the candidate’s responsibility to secure an accompanist.
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