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 storiesHarper, 5 Years Old, Sings and Plays PianoCollege Freshman Finds Redemption at Piano CompetitionJuilliard Pianist Always Gets Asked This One QuestionDealing with Pain: A Psychologist’s Piano JourneyPlaying Again After 12 YearsStuttering Girl Finds Strength in MusicWorking Chinese Girl Picks Up Piano After Seven Years6 Year-Old Sings and Plays “Let it Go” from FrozenPianist from Georgia says starting piano at an older age has its advantages
Expert Advice
All adviceMichael Lewin on why Liszt invented impressionismSoyeon Kate Lee on playing an unfamiliar piece like it’s BeethovenMagdalena Stern-Baczewska on why Bach’s inventions are floss for your brainEric Lu on playing the pieces everyone playsEnrico Elisi on why your fingers shouldn’t outrun your footAlan Chow on why rubato isn’t the only way to be expressiveSondra Tammam on the Taubman approach and why you can’t fight natureJiayan Sun on score reading, and why a quarter note isn’t as long as you thinkYoheved Kaplinsky on why excitement isn’t about volumeAntonio Pompa-Baldi on why no one should hear the hammersJiayan Sun on why Beethoven shouldn’t sound like a metronomeRachel Naomi Kudo on why your scales should singKonstantin Soukhovetski on narrative musicianship, and why rests are your gift to musicRan Dank on why water has no anglesSean Chen on why your ears, not your feet, play the pedalBenjamin Steinhardt on why your fourth finger isn’t really weakRobert McDonald on playing on the front side of the beatLo-An Lin on teaching piano online, and why some beginners should waitYong Hi Moon: melodies are multiplication, not additionNicolas Namoradze on why pianists turn their ears offYi-heng Yang on playing a prelude like an improvisationMichael Lewin on why the audition panel wants to like youSvetlana Belsky on Bach’s Little Preludes, and why you should stop looking for the melodyAlvin Zhu on why you should learn a new piece before you play a note