The repertoire must be chosen with rigor and finesse. Candidates are asked to pay particular attention to the composition and balance of their program, which must showcase their technical and artistic skills, and include works from different aesthetic and historical periods.

The jury will take into account the difficulty and artistic merit of the programs for each round.

Important Notes:

• The same work cannot be presented in more than one round.
• Repeats are optional, as long as the work’s customary performance tradition is respected.
• The allotted time for each round must be strictly observed.
• Excerpts of works (e.g., movements) may be performed in line with performance tradition.

Candidates are responsible for ensuring their program meets all OSM Competition repertoire requirements. Non-compliant programs will be disqualified.

If you would like to confirm the eligibility of your repertoire selection, whether for the preliminary round, semifinal, or the J.S. Bach round, please feel free to write to [email protected]. Our team will be happy to review and validate your program.

Minimum duration of 20 minutes 

1. A work from the Baroque period 
2. A concert study (étude) 
3. A work from the 19th or 20th century 

Minimum duration: 30 minutes | Maximum duration: 45 minutes 

1. A work from the Classical period 
2. A work from the Romantic period or the 20th century (before 1980) 
3. A Canadian work of your choice, composed after 1980, with a minimum duration of 7 minutes 

For the semifinal round, two works must be performed from memory.

Minimum duration: 20 minutes | Maximum duration: 30 minutes

1. A work by J. S. Bach 
2. A work inspired by the aesthetic of J. S. Bach 

For this round, the semifinalist must highlight a work by J. S. Bach by pairing it with a second work inspired by his universe. This is an opportunity to demonstrate artistic vision or boldness. 

Memorization is encouraged, but scores will be allowed.

A concerto selected from the following repertoire, to be performed from memory:

Béla Bartók

• Piano Concerto no. 2, Sz. 95, BB101
• Piano Concerto no. 3, Sz. 119; BB127

Ludwig van Beethoven

• Piano Concerto no. 1 or 3 or 4 or 5

Johannes Brahms

• Piano Concerto no.1, op. 15
• Piano Concerto no. 2, op. 83

Frédéric Chopin

• Piano Concerto no. 1, op. 11
• Piano Concerto no. 2, op. 83

George Gershwin, Concerto in F

Edvard Grieg, Piano Concerto in A minor, op. 16

Franz Liszt

• Piano Concerto no. 1, S. 124
• Piano Concerto no. 2, S. 125

Felix Mendelssohn Bartholdy

• Piano Concerto no. 1, op. 25
• Piano Concerto no. 2, op. 40

Wolfgang Amadeus Mozart

• Piano Concerto (one of the late grand concertos: K. 466, 467, 488, 491, 595)

Sergei Prokofiev

• Piano Concerto no. 2, op. 16
• Piano Concerto no. 3, op. 26

Sergey Rachmaninoff

• Piano Concerto no. 2, op. 18
• Piano Concerto no. 3, op. 30
• Rhapsody on a Theme of Paganini, op. 43

Maurice Ravel

• Concerto in G, M. 83
• Concerto for the Left Hand, M. 82

Camille Saint-Saëns

• Piano Concerto no. 2, op. 22
• Piano Concerto no. 4, op. 44
• Piano Concerto no. 5, op. 103, “Egyptian”

Robert Schumann, Piano Concerto in A minor, op. 54

Pyotr Ilyich Tchaikovsky, Piano Concerto no. 1 in B-flat minor, op. 23