Deadlines to apply

February 7, 2019. You will automatically be considered for a scholarship if you apply before that date and if all of the audition material has been received.

April 4, 2019. Without a scholarship, acceptances according to available places.

Successful applicants will have to pay 50% of the fees within 14 days after the reception of the acceptance letter in order to reserve their place.

The full balance must be paid before May 2, 2019. In case of cancellation, the first payment is non-refundable. The second payment can be reimbursed if the student notifies the Admission Coordinator by e-mail at admissions@orford.mu, at the latest one month (30 days) before the first day of the stay. A $50 administration fee will then be deducted from the amount.

If a medical problem beyond your control prevents you from taking part in the Orford Music Academy, your deposit may be used for the subsequent year when a medical certificate is provided. However, you will have to go through the full audition process and be accepted again. If a scholarship was granted to you, it is not transferable to the following year.


  • tuition fees;
  • room in double occupancy;
  • meals at the Orford Music cafeteria;
  • access to concerts at the Orford Music Festival, subject to availability of tickets;
  • access to the training room.

Multi-level Rates:

The rate for a one-week stay is $1 020.
The rate for a two-week stay is $970 per week.
For three weeks or more, the rate is $920 per week.

Voice and Piano Duet

Multi-level Rates:

The rate for a one-week stay is $1020.
The rate for a two-week stay is $970 per week.
For three weeks or more, the rate is $920 per week.


Baroque Music
How to Reach your Full Potential
How to Win an Audition
How to Stand Out as a Chamber Musician


If you add one week of master class, the rate will be $945.
For a stay of three weeks or more, the rate is $895 per week.


Piano Trio
Orford Winds
Contemporary Music


If you add one or more weeks of master classes:
The rate will be $920 per week.

Ali Yazdanfar

Double Bass

McGill University Schulich School of Music (Canada)

Although Ali Yazdanfar started playing the bass at seven years old, he didn’t take the usual music school route to becoming a professional musician. In fact, his strong background in science and mathematics led to a physics degree from the Johns Hopkins University, and, directly upon graduation, he won his first audition to become a member of the Houston Symphony. He went on to win his next three auditions, for the National Symphony Orchestra in Washington, D.C., for principal bass with San Francisco Symphony, and for principal bass with the Orchestre symphonique de Montréal, where he currently plays.

Since finding himself fully ensconced in the world of the professional bassist, Mr. Yazdanfar has embraced all that a full career in music has to offer. Besides appearing as guest principal with orchestras such as the National Arts Center in Ottawa and the Australian Chamber Orchestra, he has given solo recitals throughout Canada and the United States, and was a prizewinner in the 2005 International Society of Bassists solo competition. Some recent highlights are a performance of Eduard Tubin’s Bass Concerto with the Orchestre symphonique de Montréal in April 2013 and the world premiere of Gareth Wood’s Double Bass Sonata at the International Society of Bassists biennial convention in June of the same year.

Also an avid chamber musician, he has performed at major festivals in North America and Europe and also co-founded the Ensemble Ulysse, a chamber music series in Washington, DC. Future projects include Montreal performances and recordings of several of Onslow’s string quintets.

Mr. Yazdanfar was lucky to study with influential and well-known teachers such as Paul Johnson, Hal Robinson, Paul Ellison and François Rabbath, and taking his inspiration from them, devotes much of his time to the next generation of bassists. In addition to being a member of the faculty of McGill University’s Schulich School of Music, he has given masterclasses at venues such as the Curtis Institute, the Peabody Conservatory, the Glenn Gould School, and the European Bass Conventions in Prague and Copenhagen. He has also spent many summers teaching at festivals such as Le Domaine Forget, Orford Music, the National Orchestral Institute, and Bass Club.

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