- The maximum duration of programmes, which included applause and pauses, was 25 minutes. Repeats were at the artistic discretion of the competitor.
- Competitors could opt to play complete works or single movements, by either three or four composers selected as follows:
- One work by J. S. Bach, D. Scarlatti, Haydn or Mozart;
- One work by Schubert, Schumann, Debussy, Shostakovich or Messiaen; and
- A free choice of one or two other works.
- The maximum duration of programmes, which included applause and pauses, was 50 minutes. Repeats were at the artistic discretion of the competitor.
- A work performed in Stage 1 could not be repeated in Stage 2.
- Competitors had to include the commissioned work (duration 5-7 minutes).
- Subject to (ii) and (iii) above, competitors had a free choice of works but had to include one work (not a set of pieces or variations) with a duration of at least 25 minutes.
Each of the three finalists played in both a Chamber section and a Concerto section.
Competitors were asked to be prepared to present either one of any two of the following Chamber works with members of the Brodsky Quartet (to be identified as first preference and second preference
|Brahms||Piano Quartet No. 3 in C minor, Op. 60|
|Faure||Piano Quartet No. 1 in C minor, Op. 15|
|Mozart||Piano Quartet No. 1 in G minor, K. 478|
|Bartok||Piano Quintet (1904)|
|Brahms||Piano Quintet in F minor, Op. 34|
|Dvorak||Piano Quintet No. 2 in A major, Op. 81|
|Elgar||Piano Quintet in A minor, Op. 84|
|Schumann||Piano Quintet in E flat major, Op. 44|
|Shostakovich||Piano Quintet in G minor, Op. 57|
|Schumann||Concerto in A minor, op.54|
Competitors were asked to be prepared to present either one of any two concertos (to be identified as “first preference” and second preference”) selected from the following list: –
|Bartok||Concerto no. 1, Sz 83
Concerto no. 3, Sz 119
|Beethoven||Concerto no. 1 in C major, op.15
Concerto no. 2 in B flat major, op.19
Concerto no. 3 in C minor, op.37
Concerto no. 4 in G major, op.58
Concerto no. 5 in E flat major, op.73
|Brahms||Concerto no. 1 in D minor, op. 15
Concerto no. 2 in B flat major, op. 83
|Chopin||Concerto no. 2 in F minor, op.21|
|Liszt||Concerto no. 1 in E flat major, S.124|
|Mozart||Concerto in D minor K466
Concerto in E flat major K482
Concerto in A major K488
Concerto in C minor K491
Concerto in C major K503
Concerto in B flat major K595
|Elgar||Concerto no. 1 in D flat major, op. 10
Concerto no. 2 in G minor, op.16
Concerto no. 3 in C major, op. 26
|Rachmaninov||Concerto no. 1 in F sharp minor, op.1
Concerto no. 2 in C minor, op. 18
Concerto no. 3 in D minor, op. 30
|Ravel||Concerto in G major|
In each section of Stage 3, if the first preferences of each of the three competitors were different, all had to play their first preference. If two or more of the first preferences were the same, those competitors involved each played their second preference. In the event of further duplication arising, the Chairman of the Competition Music Committee in conjunction with the Chairman of the Competition Jury had to determine, in relation to all the competitors, whether the first preference or the second preference was to be played.