News
Jean-Yves Thibaudet wins the 2026 Avery Fisher Prize
The French pianist receives the $100,000 American prize while in New York to play Liszt with the New York Philharmonic.
Competition deadlines
- Aarhus International Piano CompetitionAarhus, Denmark
- Eisemann International Young Artist Competition (Piano)Richardson, TX, USA
- Cliburn International Competition for Young PianistsDallas, TX, USA
- Maria Canals International Music Competition (Piano)Barcelona, Spain
News
- Competition NewsMizuki Ono wins the 2026 International Piano Competition of Orléans
- NewsStephen Kovacevich, American pianist, dies at 86
- NewsThis Week in Piano: October 17 to 23, 2026
- NewsŞahan Arzruni, pianist and champion of Armenian music, dies at 83
- Competition NewsSydney International Piano Competition doubles first prize to $100,000 for 2027
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Expert Advice
All adviceYoheved Kaplinsky on why excitement isn’t about volumeBenjamin Steinhardt on why your fourth finger isn’t really weakAlex McDonald on avoiding injury, and why playing loud teaches you to play softIgor Lipinski on creative recitals, and why you never play the same chord the same wayJarred Dunn on fast octaves, and why the piano can open your hand for youAntonio Pompa-Baldi on why no one should hear the hammersMagdalena Stern-Baczewska on why Bach’s inventions are floss for your brainSvetlana Belsky on Bach’s Little Preludes, and why you should stop looking for the melodyMichael Lewin on why the audition panel wants to like youJiayan Sun on score reading, and why a quarter note isn’t as long as you thinkRoss Salvosa on why you shouldn’t need endurance at the pianoLubov Laura De Valois on why legato can wait, and why you need talented parentsEric Lu on playing the pieces everyone playsSondra Tammam on the Taubman approach and why you can’t fight natureAbdiel Vázquez on why the piano is a jealous instrument, and why Baroque music lets you misbehaveLo-An Lin on teaching piano online, and why some beginners should waitJocelyn Lai on finding time to practice, and why even professionals sound dreadful at firstSean Chen on why your ears, not your feet, play the pedalLeann Osterkamp on why practicing hands separately turns one piece into threeAlvin Zhu on why you should learn a new piece before you play a noteNicolas Namoradze on why pianists turn their ears offKonstantin Soukhovetski on narrative musicianship, and why rests are your gift to musicRobert McDonald on playing on the front side of the beatAndrew Tyson on the old-school pianists, and why the score is only a starting point