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The Jury

2012 Senior String Division Jurors
	Michael Reynolds, cello Muir String Quartet, in Residence at Boston University Executive/Artistic Director, Classics for Kids Foundation
	Anne Epperson, piano Professor of Collaborative Piano, Butler School of Music: Chamber Music/Collaborative Arts Division, University of Texas at Austin
	Additional String Division Juror TBA
2012 Senior Wind Division Jurors
	Carol Wincenc, flute International Concertizing Flautist/Grammy recipient Juilliard School & Stony Brook University
	Carl Lenthe, trombone Jacobs School of Music, IU Bloomington Former Principal Trombonist, Bavarian State Opera & Bamberg Symphony
	David Jolley, horn Windscape Wind Quintet Valtorna Trio
2012 Junior Division Jurors
	Marilyn McDonald, violin Oberlin Conservatory Axelrod String Quartet
	Jonah Sirota, viola Chiara String Quartet 3rd Prize Winner, 2006 Naumburg Viola Competition
	Seth Knopp, piano Peabody Conservatory, Peabody Trio Artistic Director, Yellow Barn
	Charlie Geyer, trumpet Northwestern University, Chicago Brass Quintet, Chicago Symphony

 

Review an archive of past Fischoff Competition jurors (through 2009).

The Fischoff takes great pride in inviting the nation's finest musicians and music educators to serve as Competition jurors.  Each Competition Division – string, wind, and junior – is adjudicated by the finest professional specialists in each field.  Jurors come together to form a larger panel for the Final round.

Selecting the “best” ensemble from all of the competitors can be a Herculean task.  The jurors do have some formulas on which they can rely.  However, their decisions are guided primarily by their own musical integrity and experience as performers and instructors.  They listen for interpretation – tempi and dynamics; ensemble performance – balance within the ensemble, blend, and unity of the members; technical accuracy – rhythm and intonation; and overall performance – poise, artistic impression, and expression.

Jurors individually rank the ensembles in each division. These rankings are combined, then averaged for each ensemble to arrive at a group’s composite ranking.  Rankings are a good method for determining the prize winners, but the real value for these young musicians comes from the written comments of the jurors.  The juror evaluations are distributed to all performing ensembles at the completion of the Competition.  From the written comments, the musicians gain valuable and constructive feedback, which is intended to stimulate their growth as artists and ensembles.

Identifying conflict of interest issues is very important to the integrity of the Competition.  During all Competition rounds, ensembles perform anonymously, identified to the jury only by number.  Conflicts of interest between jurors and ensembles or any individuals within an ensemble are carefully addressed and handled appropriately.