Andrey - Pianist
12021POWERED BYAndreyGugninA greatexperience
W E L C O M EDear readers,In 1942, Artur Schnabel, the legendary pianist, wrote a little volume he called: Music, and the line of mostresistance. Great art never takes the easy route: in their days immortal composers had to come to termswith many setbacks and their contemporaries often didn’t grasp the true value of the masterpieces wenow admire so much.The year 2020 and as it looks now, we hope and trust, the lesser part of 2021, proved a line of mostresistance to millions all across the globe. Unprecedented times for all, artists and musicians not excluded.In 2020, altogether more than 160 international piano competitions were cancelled, our valued expertGustav Alink informs us in his analysis of the effects of the pandemic on the sector. Piano competitionswere prevented from reaching their goals, to help young musicians finding their way onto the concertstage to fulfil their mission of sharing music and in doing so making life more worthwhile and beautifulfor all those able to listen.A mission along the line of most resistance young aspiring artists didn’t envision for themselves lightheartedly, being an artist is not a profession by choice. Talents, like Andrey Gugnin, our cover artist ofthis edition, are chosen, in the firm belief that music is not just entertainment, not something to be takenfor granted. No, it is something we need perhaps more than anything else. As Alexander Gavrylyuk,interviewed this time on his ideas about competitions, once said: “Music is the face of our culture,the essence of our existence, it is our identity.”Nowadays, with more people than ever expressing themselves in music, professional and amateurs alike,this is becoming more apparent now. Let us hope that with the support of all involved in the music business,the musicians, the competitions as well as the innovative and creative manufacturers or our treasuredinstruments and last but not least, the public in the concert hall, you our dear reader, we all can sooncelebrate our identity again to the fullest.ERIC SCHOONESEDITOR-IN-CHIEFPIANIST MAGAZINESTHE WORLD OF PIANO COMPETITIONS 1/213
THE WORLD OFPIANO COMPETITIONSTHE WORLD OF PIANO COMPETITIONSis published twice a year by PIANIST, as a part of the regularedition, and also worldwide as a separate magazine.PIANIST (regular edition) is published four times a year inGermany, Austria, Switzerland, Luxemburg, Liechtenstein,the Netherlands and nlOnline accesswww.pianostreet.comPublisherForte Media / PIANISTHeistraat 16 a5691 CA Son en BreugelThe NetherlandsHenk Brüger, Sr.(Founder / owner PIANIST)E-mail: h.bruger@pianistmagazine.nlEditor-in-ChiefEric SchoonesE-mail: e.schoones@pianistmagazine.nlContributing EditorsGustav Alink (Alink-Argerich Foundation), Christo Lelie,Gerrit Glaner (Steinway), Patrick Jovell (Piano Street),Florian Riem (WFIMC)Language EditorSteven RalstonDesignKerstin PapertAndreas RupprechtCover PhotographyBoris ScitarMarketing & PRKristin Brüger, geb. Gräfin zu RantzauAdvertisingE-Mail: admin@fortemedia.nlPhone: 31 (0)499791062Monday – Friday 10.00 –13.00 hSubscription EnquiriesSubscriptions are available for this separate edition( 14 a year) or as a part of PIANIST Magazine,German or Dutch editionplease check: www.pianist-magazin.deE-mail: admin@fortemedia.nlPhone: 31 (0)49 97 91 062Monday – Friday 10.00 –13.00 hCopyright 2021No part of this publication may be reproduced, distributed,or transmitted in any form or by any means, includingphotocopying, recording, or other electronic or mechanicalmethods, without the prior written permission of thepublisher.ortemedia08 INTERVIEWS13 BEHIND THE SCENES
ContentsInterviews083650532631404547494920 THE PIANOAndrey Gugnin Getting startedAlexander Gavrylyuk The right mindsetAlexandra Kaptein Under Liszt’s spellDaniel Kogan Blessing or BurdenIn ProfileInternational Schimmel Piano CompetitionLiszt in Weimar and BayreuthPearl River Kayserburg International Youth Piano CompetitionSantander International Piano CompetitionInternational Telekom Beethoven Competition BonnARD International Music CompetitionThe International Schubert-Competition DortmundBehind the Scenes13 Steinway Prizewinner Concerts Network Challenges26 COMPETITION PROFILE14182832353942and chancesWFIMC Piano Competitions on five continentsHow are the piano competitions coping with the pandemic?Virtual Competitions in RealityGéza Anda Competition A helping handBechstein lends a handLiszt Utrecht New WaysPiano Competitions During Pandemic Can’t Stop The MusicThe Piano20 Pianists and Piano Brands22 Spacewalk from the 3D printerStay updated!For upcoming applicationdeadlines etc. check:Alink-Argerich Foundationwww.alink-argerich.orgTHE WORLD OF PIANO COMPETITIONS 1/215
P A R T N E R SWORLD FEDERATION OF INTERNATIONAL MUSIC COMPETITIONSThe World Federation of International Music Competitions is dedicated to establishinga global network of internationally recognised organisations that discover the most promising young talents through public competition in the great tradition of classical musicand further their careers by presenting them before distinguished juries, general audiences,the media, and the rest of the music community. The WFIMC is a Member of the International Music Council and some 122 of the world’s leading music competitions belongto the Federation. A number of important international music organisations are associate members of the WFIMC.wfimc-fmcim.orgEUROPEAN UNION OF MUSIC COMPETITONS FOR YOUTHEMCY is a network of national and international music competitions for young peopleacross Europe. We believe that music competitions stimulate passionate musicianship.For many, they’re a first glimpse of performing in public, playing in ensembles, or ofbreaking out of orthodox repertoire. They foster a sense of healthy self-assessment, canhelp conquer nerves, and motivate practise. Young people can be inspired by experiencing fresh interpretations and discovering new works and other European cultures. We donot think of competitions as the end of the learning process: for us, they are the beginning.www.emcy.orgALINK-ARGERICH FOUNDATIONAn independent and objective Information and Service Centre for Musicians and Competitions, founded by Gustav Alink together with Martha Argerich. AAF supports musicians and competition organisers and gives them assistance and advice. AAF focusesspecifically on the International Piano Competitions worldwide. More than 190 international piano competitions and organisations are affiliated with AAF as AAF membercompetitions. They are all included in the annual AAF catalogue. Gustav Alink and alsoother AAF staff members frequently visit piano competitions, report on them and areconstantly available to provide assistance whenever needed to the organisers, jurymembers and participants.www.alink-argerich.orgPIANO STREETPianoStreet.com operates worldwide from Stockholm in Sweden and was formed fromthe administrative base of Piano Forum, the world’s largest discussion forum on pianoplaying on the Internet (more than 600 000 postings). The resource is Internet based andprovides a sheet music library, all pieces in the digital library are connected to recordingsin Naxos Music Library. There also are pedagogical materials. Members can also enjoye-books, autograph manuscripts, mobile sheet music, the Audio Visual Study Tool (AST),a music dictionary, practice tips, etc. Piano Street has over 200 000 members worldwide.www.pianostreet.com6THE WORLD OF PIANO COMPETITIONS 1/21
Right in the heart of the festival city of Bayreuth is where we build a select number of first-class pianos. In July,our Steingraeber Gallery will hold an exciting exhibition dedicated to the fascinating composer EngelbertHumperdinck.Of course, your safety and health are of utmost importance to us and we will be observing current disinfectionand distancing guidelines. We are also there for you in the evening, where you can enjoy time alone with all ourpianos and even spend the night in one of our beautiful artist studios! And of course, we will be happy to enrichyour Bayreuth experience further with visits to cultural highlights.Choose your piano in Bayreuth!
DANIEL BOUDAndrey GugninGetting startedThe Sydney International Piano Competition is about to take place from 2 –18 July,online this time, and we spoke to Andrey Gugnin, the winner of the last edition of 2016.This exceptional artist openheartedly shares his views on competitions, about thework and the enjoyment, about doubts and self-confidence gained.8THE WORLD OF PIANO COMPETITIONS 1/21
INTERVIEW“In competitionsI felt more like a kid ina playground.”In 2013, you won the second prize at the Beethoven International PianoCompetition in Vienna. Surely that was not your first competition.No, but it was the first major competition where I got a prize. I starteddoing competitions when I was about ten years old, still in the Musicschool in Moscow, and when I began my studies with Prof. Gornostaevaat the Moscow State Tchaikovsky Conservatoire, I applied for variouscompetitions, such as Long-Thibaud, Leeds. But I didn’t really takeit seriously enough. For instance, in Leeds, I put Prokofiev’s Thirdconcerto on my list, which I had not really played. My teachers werepushing me all the time, but I was even reluctant to show them mycompetition programme.Still I had a great time in Leeds. One important element in competitions is socializing with your fellow pianists, from various places,because we have to study so much in solitude. But gradually the yearbefore the Beethoven competition mentioned earlier, I was 25 andthinking about my future. I would love to have a reasonable numberof concerts, so I started to work. Also because of having the greatexample of two fellow students, Lukas Geniušas and Vadym Kholodenko, who both had won big prizes already, and we were like a trioof close friends in Gornostaeva’s class.You didn’t enjoy playing in competitions?No, in the beginning I didn’t, only later did it sometimes feel like aconcert. But in Vienna I got the feeling I can succeed. I was proudof myself. I played the Hammerklavier Sonata for first time at thecompetition, and it was great to immerse myself completely in themusic of one composer. Playing at the Musikverein was very special;I only wished I had won the first prize, which was a Bösendorfer piano!One year after Vienna, you won the Gold Medal and Audience Awardat the International Gina Bachauer Piano Competition in the USA.I didn’t expect much, but I wanted to do my best. I stayed with a lovelyhost family – we are still friends – and they had a great Steinway pianofor me to practice on. I was quite nervous in the first round, but laterwith Prokofiev’s Seventh Sonata and Pictures at an Exhibition byMussorgki it felt like a concert. For the finals I chose Rachmaninoff’sConcerto No. 3.That is a good one for competitions Yes, it’s a bit overplayed, but I adore that concerto. The Bachauerwas a great experience too, it was wonderful, the competition arrangeda number of concert engagements and my first solo-CD with the Steinway label; in addition, there was a good cash prize, which was helpful.So you could buy your Bösendorfer?[Laughing] After that I went to Sydney, mainly because I wanted togo to Australia. After preselection, the competition covered all expenses,which was nice, and I would have enjoyed being in Sydney regardlessof the result. I think picking an interesting program played a significant role in my success, because for the jury it must be nice to listento less familiar repertoire as well, so I chose Beethoven’s Fantasyopus 77 and Medtner’s Sonata Romantica, which worked very wellwith Chopin’s Etudes opus 25.The atmosphere was delightful: the organisation made us feel verywelcome and supported. It was very well organised, always volunteersin the green room, nice snacks between practicing. And each day ofthe auditions would start with some young local kids playing. The juryalso gave them feedback, which was nice for them and for us, thecandidates: it took the stress off having to start the day. It may seemlike a tiny detail, but it made a huge difference. Moreover we got toplay on four different brands of pianos, all very well serviced.Just like when you are touring.Exactly, it was a great preparation for real-life situations and I washappy not having to choose a piano, because I always have doubts,thinking I may have picked the wrong one. With Fazioli, I love thefeel of the keyboard, the control and the well-projected sound: crispand powerful. Steinway may not always be consistent in quality butcan give really unique colours and that keep you excited on stage.Kawai is very pleasant to play, again with great control, and I especially adore some older Yamahas I played in Japan. And actually formy second recording for Hyperion, with pieces dedicated to Godowsky,I used a Bechstein, and that nostalgic soft sound worked extremelywell with that program. Playing all those different pianos didn’tcause extra stress, I enjoyed it very much.THE WORLD OF PIANO COMPETITIONS 1/219
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BORIS SCITARINTERVIEWYou got the chance to see the continent.Oh yes, I went back to Australia and New Zealand many times,even for a 33-concert tour!I received a concert with Gergiev as a prize, but at the last momenthe cancelled his appearance due to personal matters. The concertwas rescheduled to the next year and finally it happened. We wereplaying Shostakovich’s Concerto No. 1 and I was extremely nervous.I remember at some point forgetting the text for a moment and playing a wrong note in a very exposed simple melody in the 2nd movement.I still vividly remember the look he gave me, at that moment I merelywanted to die but we still had two more movements to play. Overall,though, Sydney helped me to become more confident, because theother competitors all played so well and I still got the first prize.Then I still wanted to do the Tchaikovsky Competition. I entered twice,in 2015 and 2019, although I didn’t really need it career-wise, but forus Russians it is like the holy grail. Sadly I didn’t pass to the final; thestress was unbearable, even more so for Russians since the audienceknew us very well and that gave an additional weight of responsibility.I don’t think my failure affected my career, but nevertheless I feltdevastated.By that time I had more than 100 concerts a season, but I was stillwithout proper management, and then suddenly, some time after theTchaikovsky, two agencies contacted me on the very same day! I choseIMG, we signed but then Covid started so not so much has happeneduntil now.Last year the BBC Music Magazine Awards named you the winner ofthe Instrumental Award for this recording Shostakovich: 24 Preludes –Piano Sonatas 1 & 2 (Hyperion). Did that perhaps feel like winning acompetition?In competitions I felt more like a kid in a playground, but this wasperhaps more serious. It made me feel like a real artist.ERIC SCHOONESThere are lots of interesting projects coming up. A few recordings,for example transcriptions of Petrushka, Firebird and the Sacre forHyperion, and I will record Scriabin’s Piano concerto with the RussianNational Orchestra for Russian Television this June. Also, hopefully,I’ll have my debut recital at the chamber hall of Berliner Philharmonie later this year.DANIEL BOUDYour plans for the future?Andrey Gugnin congratulated by Piers Lane,artistic director of the Sydney CompetitionTHE WORLD OF PIANO COMPETITIONS 1/2111
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BEHIND THE rts NetworkBrochure of the SPCN tour“There are mountains which one has to conquer, otherwise the path does not continue” (Ludwig Thoma).Doubtlessly, the pandemic is exactly such a mountain and yet it is not clear how high it really is.Culture itself and its economics are heavily affected, artists in particular, and more especially the young.And let’s not to forget the audiences. Everyone is longing to attend aconcert and fed up with the seemingly never-ending postponementsand cancelations. Streaming events may be proper kind of workaround, but in the end, they make evident how essential and irreplaceable live audiences are. Referring to the editorial note andArthur Schnabel’s view of things, presently culture and concerts arein times of “most resistance”. A mix of challenges and chances What to do? Whatever the epidemiologists say and the politiciansdecide, is there a better alternative to keeping faith and patience,creativity and persistence? Being ready to go on as soon as it ispossible again?The Steinway Prizewinner Concerts Network too has been facingquite a standstill. Numerous concerts had to be postponed repeatedly. In some cases, cancelations were inevitable. Everywhere? Wellnot in South Korea. A cultural life became possible again there,with a restricted audience, though. South Korea has a concert promoter with vision and endurance, who never gives in: The WorldCulture Networks (WCN) based in Seoul and Vienna.In 2020, they had scheduled Tony Yun, winner of the China International Piano Competition 2019, for a recital tour through thewhole country, following Ivan Krpan (Concorso Busoni) and Eric Lu(The Leeds), who were invited in the years before. Covid-19 completely nullified it that year but the project was not dropped andthis June it will eventually take place: Eight days with concerts infive cities, with live audiences, press and media exposure – andgenerous hospitality. A perfect Korean debut.As waiting and patience were required to reach this far, they stillare: Before Tony Yun may perform on stage, a 14-day quarantine ismandatory! A rather small „mountain to conquer“ – and certainlyworth it!The World Culture Networks have meanwhile established theSteinway Prizewinner Concerts as a series. Inspired by the successthey will expand it and will in the future invite two internationalpiano competitions per year. For 2022, the Concours Géza Andaand The Leeds are already booked. And the ideas which competitions to invite for 2023 are on the table This encouraging example stands for many others of whom weknow they are ready to go. The paths across the mountain willcontinue!GERRIT GLANERTHE WORLD OF PIANO COMPETITIONS 1/2113
Florian Riem,Secretary General,World Federation ofIntl. Music CompetitionsSIHOON KIMBEHIND THE SCENESMaking the Casefor CompetitionsAmong almost 70 WFIMC member music competitions scheduledfor the year 2020, only 12 took place. Most of these 12 were heldbefore the pandemic even hit, and only a handful „survived“ theworldwide lockdowns and restrictions. The year 2021 is lookingsomewhat better, but mostly because competitions have taken theinitiative to go online - some only in part, some entirely. Amongsome of the more prominent is the Leeds International PianoCompetition, which just finished its first round of recordings. ItsChief Executive Fiona Sinclair writes, „From the outset, we knewdemand was likely to increase for our 2021 competition. Pianistshad more time at home practising their repertoire and craftingtheir applications. But we were not prepared for the avalanche ofsubmissions we received: an increase of 43%. Intensified throughthe lens of lockdown and cut off from their audiences, it was humbling to read the hopes and dreams of musicians contained in eachsubmission“.14THE WORLD OF PIANO COMPETITIONS 1/21The Leeds is not the only competition seeing a rise in applications. Around the world, interest in competitions has increased.With live performances cancelled almost everywhere, with thousands of musicians having lost their work, being unable to make aliving, many have turned to competitions as a way to salvage theirfuture and career. Interestingly, prize money has become less important over the years - it is career management, public relations,performance contracts and recording projects that really canmake a difference.For many, going to a competition is like becoming part of a family. “Their encouragement meant so much to me“ says YekwonSunwoo, winner of the 2017 Cliburn Competition.”Their sincerityand warmth can make you feel like a part of the family! It doesnot matter where you come from, or how you do in the competition. Everyone there is so welcoming and shows sincere appreciation for you and your work.“
Obviously, an online competition cannot offer the same kind ofcare and devotion that a live competition would. But in the end,„being part of the family“ is key: competitions will work hardto promote their winners, to give them the public exposure andmedia presence they need.While in the past, video recordings have been used only forpreliminary rounds, recorded performances and livestreamshave become now commonplace up until the fi nals. Cooperationswith piano makers, recording studios and concert halls aroundthe globe ensure a video and audio quality far above what wehave been used to, and the future will certainly bring furtherinnovations and improvements. While some competitions haveworked with holography, the Chopin Competition has alreadyannounced its next edition with live streaming in virtual reality.A year ago we started to become worried about the impact thatCovid-19 would have on classical music. Cuts in governmentfunding and increasingly restrictive health regulations threatened, and keep threatening, our competitions. But today, a yearlater, while many of us are still struggling, it has become clearthat competitions will not only survive this crisis- they will havebecome more important than ever for the future of young artists.FLORIAN RIEM2021 WFIMC PIANO COMPETITIONSCompetition datesCITY COUNTRYCompetition NameInformation Application deadlinePlease check wfimc-fmcim.orgfor individual competition information and websites!All information is subject to change.3 – 29 May 202121 – 23 May 2021BRUSSELS BELGIUMQueen Elisabeth CompetitionNo audience – all rounds live streamedqueenelisabethcompetition.beBUCHAREST ROMANIAGeorge Enescu International CompetitionSemi-Finals and Finals / no audience – live streamedfestivalenescu.ro/en6 – 15 May 202127 May – 5 June 2021PRAGUE CZECH REPUBLICPrague Spring International Music CompetitionFirst round online, live from second roundNo audience – all rounds live streamedfestival.cz/enZURICH SWITZERLANDGeza Anda International Piano Competitiongeza-anda.ch10 – 13 May 2021MONTREAL CANADAConcours Musical International de MontrealFinals – onlineconcoursmontreal.ca/en23 June – 2 July 2021VALENCIA SPAIN21st Iturbi International Piano Competition Valènciapianoiturbi.dival.es/enTHE WORLD OF PIANO COMPETITIONS 1/2115
Young Pianists wanted!Piano ComPetition 2 - 11 DeC 2021oPen toPianists ageD 18 to 32from all nationsPrizes:1st prize2nd prize3rd prize30,000 20,000 10,000 plus more than 10,000 inspecial prizes.Presented by:www.telekom-beethoven-competition.de
BEHIND THE SCENES2 – 18 July 20212 – 23 October 2021SYDNEY AUSTRALIAWARSAW POLANDFryderyk Chopin International Piano Competitionchopin2020.pl/enSydney International Piano CompetitionOnlinethesydney.com.au3 – 15 July 2021BARCELONA SPAINMaria Canals International Piano Competitionmariacanals.org/en8 July – 11 August 2021CLEVELAND OHIO, USACleveland International Piano CompetitionHybridpianocleveland.org24 August – 3 September 2021BOLZANO ITALYFerruccio Busoni International Piano Competitionconcorsobusoni.it2 – 8 September 2021MUNICH GERMANYARD International Music Competition (piano duo)First round onlinebr.de/ard-musikwettbewerb8 – 18 September 2021LEEDS UKLeeds International Piano CompetitionSecond round, Semi-Finals and Finalsleedspiano.com6 – 17 October 2021VERCELLI ITALYViotti Competitionconcorsoviotti.it18 – 21 October 2021VIENNA AUSTRIAInternational Beethoven Competition ViennaFirst round onlinebeethoven-comp.at26 October – 7 November 2021SHENZHEN CHINAChina Shenzhen International Piano Competitioncsipcc.com.cn27 October – 7 November 2021WEIMAR GERMANYInternational Franz Liszt Piano CompetitionApplication deadline: 1 June 2021hfm-weimar.de/liszt12 – 29 November 2021HAMAMATSU JAPANHamamatsu International Piano Competitionhipic.jp/en24 – 27 November 2021BUDAPEST HUNGARYFranz Liszt International Piano Competitionzeneiversenyek.hu/enBRATISLAVA SLOVAKIAJohann Nepomuk Hummel International Piano CompetitionApplication deadline: 31 May 2021First round onlinefilharmonia.sk/en14 – 26 September 202129 November – 4 December 2021ZHUHAI CHINAZhuhai International Mozart Competition forYoung Musiciansen.zhmozart.orgMANCHESTER UKJames Mottram International Piano CompetitionDetails to be announcedrncm.ac.uk/jmipc-info24 September – 3 October 20212 – 11 December 2021DORTMUND GERMANYInternational Schubert-Competition DortmundApplication deadline: 15 June 2021schubert-wettbewerb.de/enBONN GERMANYInternational Telekom Beethoven Competition BonnApplication deadline: 14 May 2021telekom-beethoven-competition.de/itbcb-en12 – 19 September 2021THE WORLD OF PIANO COMPETITIONS 1/2117
A view of the hall during thefinals of the Queen ElisabethCompetition in Brussels (2013).How are the piano competitionscoping with the pandemic?At first, 2020 was set to be a very exciting year with many majorinternational piano competitions: the Queen Elisabeth Competition in Brussels, the Arthur Rubinstein Competition in Tel Aviv,the Beethoven Competition in Vienna, the Liszt Competition inUtrecht, the Schumann Competition in Zwickau, the Grieg Competition in Bergen, Montreal, Sydney, Cleveland, and last but notleast the famous Chopin Competition in Warsaw! But they wereall cancelled and postponed. There are also other, highly interesting competitions all over the world. In 2020, altogether more than160 international piano competitions were cancelled.Many organisers had to consider what to do. Postponing the competition was already a tough decision, but there seemed to be noalternative. Initially, it was believed that the problems caused bythe corona crisis would be temporary and that live events could beresumed in 2021. But now, as the situation in the world is not getting much better, the competition organisers have had to thinkagain. What options do they really have ?One such option is to arrange an online competition. And indeed,many organisers resorted to this. However, having a music competition online is far from satisfactory. As described elsewhere, itcomes with serious setbacks and can raise many questions and18THE WORLD OF PIANO COMPETITIONS 1/21concerns. Several organisers stated quite clearly they were not opting for an online event and would rather postpone the competitionagain, if necessary. (Århus, Bergen, Warsaw )Several other major competitions looked into different solutions.Apart from all the complications with international travelling,the next biggest problem is how to comply with the restrictions ofaccommodating an audience (if at all possible), a jury, or welcoming a large group of contestants. Therefore, many competitionshad to be transformed into a “hybrid” event: the preliminaryround was held online, after which a much smaller number ofparticipants could advance to perform live in the (semi)finals.A few competitions contracted studios and even concert hallsto provide for fine recording sites in various places in the world(Busoni Competition, the Honens, Leeds, Arthur RubinsteinCompetition, ). Naturally, this also requires an extra effort fromthe applicants to travel to the place where the recording can bemade and perhaps also to stay overnight. On the other hand, hadthe competition been live, they would also have had to undertakea (longer) trip.How many pianists may advance to the next (live) stage dependson the traditional structure of the competition. In Tel Aviv, there
BEHIND THE SCENESwill be six finalists, but in Leeds one continues with twenty-fourselected pianists for the (live) 2nd round. At the Beethoven Competition in Vienna, there will be twelve semi-finalists and in Cleveland there will be eight. The Cleveland Competition has alwaysbeen very generous. Apart from the chance of winning the extraordinarily high first prize (US 75,000), each semi-finalist receivesat least US 2,000. Most other competitions have to be more modest, but it is much appreciated by the contestants if they can receivesome compensation for their travel and accommodation. At theRicard Viñes Competition in Lleida (Spain), all twelve selectedsemi-finalists will receive 250 Euros.Interestingly, the jury at the Cleveland Competition this year isalso “hybrid”: part of the jury will be present, while the three remaining judges will assess the performances online.At the ti
edition, and also worldwide as a separate magazine. PIANIST (regular edition) is published four times a year in Germany, Austria, Switzerland, Luxemburg, Liechtenstein, the Netherlands and Belgium. www.pianist-magazin.de www.pianistmagazine.nl Online access www.pianostreet.com Publisher Forte Media /
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