Competition News
Sydney International Piano Competition doubles first prize to $100,000 for 2027
The competition has raised every prize for its 50th anniversary edition in July 2027, and applications are open until 15 December.
News
- 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
- NewsAspen Music Festival and School to give full fellowships to all solo piano students
- Competition NewsPei-Heng Jiang, 16, wins the Rina Sala Gallo Monza International Piano Competition
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All storiesCollege Freshman Finds Redemption at Piano CompetitionHarper, 5 Years Old, Sings and Plays PianoDealing with Pain: A Psychologist’s Piano JourneyJuilliard Pianist Always Gets Asked This One QuestionWorking Chinese Girl Picks Up Piano After Seven Years6 Year-Old Sings and Plays “Let it Go” from FrozenStuttering Girl Finds Strength in MusicPlaying Again After 12 YearsPianist from Georgia says starting piano at an older age has its advantages
Expert Advice
All adviceLo-An Lin on teaching piano online, and why some beginners should waitSean Chen on why your ears, not your feet, play the pedalAntonio Pompa-Baldi on why no one should hear the hammersRobert McDonald on playing on the front side of the beatBenjamin Steinhardt on why your fourth finger isn’t really weakYoheved Kaplinsky on why excitement isn’t about volumeMichael Lewin on why the audition panel wants to like youSvetlana Belsky on Bach’s Little Preludes, and why you should stop looking for the melodyEric Lu on playing the pieces everyone playsMichael Lewin on why Liszt invented impressionismSoyeon Kate Lee on playing an unfamiliar piece like it’s BeethovenAlvin Zhu on why you should learn a new piece before you play a noteRachel Naomi Kudo on why your scales should singYi-heng Yang on playing a prelude like an improvisationYong Hi Moon: melodies are multiplication, not additionJiayan Sun on why Beethoven shouldn’t sound like a metronomeIgor Lipinski on creative recitals, and why you never play the same chord the same wayMagdalena Stern-Baczewska on why Bach’s inventions are floss for your brainAlan Chow on why rubato isn’t the only way to be expressiveKonstantin Soukhovetski on narrative musicianship, and why rests are your gift to musicJiayan Sun on score reading, and why a quarter note isn’t as long as you thinkEnrico Elisi on why your fingers shouldn’t outrun your footSondra Tammam on the Taubman approach and why you can’t fight natureNicolas Namoradze on why pianists turn their ears off
