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.

Jean Lesage

On Sabbatical in 2019

McGill University Schulich School of Music (Canada)

    Jean Lesage pursued his musical training at the Conservatoire de Montréal with Gilles Tremblay for composition and analysis, Micheline Coulombe St-Marcoux and Yves Daoust for electronic music, Clermont Pépin for orchestration, and with Mireille Lagacé for harpsichord.

    Jean Lesage is very active on the Montreal music scene: he has been an advisory member of the Association pour la création et la recherche électroacoustique du Québec, a program coordinator for the Société des concerts alternatifs du Québec, and since 1990, a member of the artistic committee of the Société de musique contemporaine du Québec. In 1997 and in 2008, he has been guest editorial director for Circuit, for special issues on Montreal composers and on the music of the 20th century.

    From 1987 to 1995, he was also a reporter for the program Musique actuelle, broadcast on Radio-Canada’s FM radio. For the same network, in the summer of 1996, he produced and hosted Musique du Québec, a series of 12 programs on Quebec’s musical modernism. He is also on the editorial board of Circuit, Contemporary Music Journal between 2005 and 2011.

    From 1995 to 2009, Jean Lesage has been regularly invited as a composer and a teacher at the Rencontre internationale de musique nouvelle at Domaine Forget. Since 2011, he teaches composition every summer at Orford Music. Since 1999, Jean Lesage has been teaching composition, music analysis and orchestration at the Schulich School of Music of McGill University.

    To be noted among the 50-odd works he has composed so far are: Mare Fecunditatis (1986), for piano, CAPAC Prize 1987; Trois apparitions au désert (1988), for mixed choir and large orchestra, Robert Flemming Prize from the Canadian Music Council 1988; Le sentiment océanique (1989), for eight instruments, commissioned by the Ensemble contemporain de Montréal (ECM), presented at UNESCO’s 1995 Rostrum of Composers, in Paris; Les sensations confuses (1993), for chamber orchestra, commissioned by the Nouvel Ensemble Moderne, premiered in Strasbourg at the Musica 1993 Festival; Masques et chimères (1996) for eleven instruments, commissioned by the ECM; Les représentations surannées (1998) for orchestra, commissioned by l’Orchestre symphonique de Québec premiered in Quebec at the Musique au présent Festival 1999; Le livre des mélancolies (1999) for clarinet and string quartet commissioned by the Société de musique contemporaine du Québec;Portrait of a Sentimental Musician in a Distorting Mirror (2000) for violin and piano, commissioned by the CBC for Duo Concertante; String Quartet I (2001), String Quartet II(2002) and String Quartet III (2005) commissioned by the Quatuor Bozzini; Les mécanismes multiples de l’ivresse et de la nostalgie (2004) for large orchestra, commissioned by Radio-France et Radio-Canada; Le projet Mozart (2006) commissioned by Trio Fibonacci; Plaisirs anciens (2008), for a capella choir commissioned by Viva Voce and Beatitudines (2011) commissioned by the Orchestre symphonique de Montréal; Quatuor à cordes IV (2014) commissioned by the Quatuor Molinari.

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