News
This Week in Piano: October 17 to 23, 2026
First prizes in Tbilisi and Vercelli, bigger prizes in Sydney, and a farewell to Şahan Arzruni.
News
- NewsŞahan Arzruni, pianist and champion of Armenian music, dies at 83
- Competition NewsSydney International Piano Competition doubles first prize to $100,000 for 2027
- Competition NewsCurtis Phill Hsu wins the 2026 Viotti International Piano Competition
- Competition NewsTaige Wang wins the 2026 Tbilisi International Piano Competition
- NewsThis Week in Piano: October 10 to 16, 2026
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Stories of Pianists
All storiesWorking Chinese Girl Picks Up Piano After Seven YearsPlaying Again After 12 YearsHarper, 5 Years Old, Sings and Plays PianoDealing with Pain: A Psychologist’s Piano JourneyJuilliard Pianist Always Gets Asked This One QuestionStuttering Girl Finds Strength in MusicPianist from Georgia says starting piano at an older age has its advantagesCollege Freshman Finds Redemption at Piano Competition6 Year-Old Sings and Plays “Let it Go” from Frozen
Expert Advice
All adviceMichael Lewin on why the audition panel wants to like youAndrew Tyson on the old-school pianists, and why the score is only a starting pointIgor Lipinski on creative recitals, and why you never play the same chord the same waySondra Tammam on the Taubman approach and why you can’t fight natureAntonio Pompa-Baldi on why no one should hear the hammersSoyeon Kate Lee on playing an unfamiliar piece like it’s BeethovenEnrico Elisi on why your fingers shouldn’t outrun your footSean Chen on why your ears, not your feet, play the pedalYoheved Kaplinsky on why excitement isn’t about volumeNicolas Namoradze on why pianists turn their ears offAlvin Zhu on why you should learn a new piece before you play a noteJiayan Sun on score reading, and why a quarter note isn’t as long as you thinkYong Hi Moon: melodies are multiplication, not additionLo-An Lin on teaching piano online, and why some beginners should waitMichael Lewin on why Liszt invented impressionismRachel Naomi Kudo on why your scales should singKonstantin Soukhovetski on narrative musicianship, and why rests are your gift to musicAlan Chow on why rubato isn’t the only way to be expressiveMagdalena Stern-Baczewska on why Bach’s inventions are floss for your brainEric Lu on playing the pieces everyone playsRobert McDonald on playing on the front side of the beatBenjamin Steinhardt on why your fourth finger isn’t really weakSvetlana Belsky on Bach’s Little Preludes, and why you should stop looking for the melodyJocelyn Lai on finding time to practice, and why even professionals sound dreadful at first