An annual publication of the World Federation of international Music Competitions, this book provides insights and data on 130 Music Competitions worldwide, along with information on career support, conferences, and more.
WORLD FEDERATION OF INTERNATIONAL MUSIC COMPETITIONS
Yearbook 2026
WORLD FEDERATION OF INTERNATIONAL MUSIC COMPETITIONS
Yearbook 2026
30.8.–18.9.2026 BASSOON ORGAN STRING QUARTET PERCUSSION
Application deadline: March 27, 2026 Further information: ard-musikwettbewerb.de
INDEX
ABOUT US Greetings Our History Maps General Assemblies Our people
4 7
12 16 18
FEATURES 70th General Assembly in Vilnius, Lithuania Focus: Conducting Competitions
21 29
NEW MEMBER COMPETITIONS Barletta Birmingham Cascais Guangzhou Lleida Novara Salt Lake City Seoul LISTINGS Member Competitions 2025 First Prize Winners Junior and Youth Competitions Associate Members
48 50 52 54 56 58 60 62
65 219 225 229
INDEX Region and Country Discipline Prize Winners
240 244 248
CALENDARS Date Discipline
254 257
CREDITS
264
COURAGE
Dear Friends, Colleagues, and Partners,
More than ever, the world needs courage. Last year, I greeted you all with the necessity of beauty; now it is about courage. There is much to be done. The past year – 2025 – saw an exceptionally high number of competitions. We all, as members of our WFIMC, have helped to bring numerous promising musicians to the fore, all of whom deserve a brilliant career. However, we are also aware of the uncertainty these young artists feel about how to shape such a career. We see ourselves as having a responsibility here, and we intend to fulfil it. It is no longer enough to see ourselves merely as an umbrella organisation for music competitions that holds a statutory annual meeting. Despite all the doom and gloom and understandable criticism, our members’ competitions play a greater role than ever in today’s music scene. A strategic partnership with the WAPA network of the Beijing-based NCPA, a participation in the Asian Leadership Conference, the promising partnership with the South Korean ARKO Foundation, and a wide-ranging network of associate members give an impression of the greatly increased international relevance of the WFIMC. A recently adopted strategic perspective will enable the WFIMC to proactively support emerging competitions in the future or even initiate new ones itself. We should act as a seismograph of an ever-changing international music scene and make our voice clearly heard. It became clear that all sides need to be more courageous in embracing new ideas. Conservatories need to change their repertoire policy, competitions need to allow much more interpretative freedom, and young artists themselves need to develop greater courage to develop their own unique identity. We are living through a time of great change – this has always been a good moment for the arts. The WFIMC wants to stand for vitality and freshness. With currently about 130 members and numerous associate members, we represent excellence in international music competition. More than ever before, we will fulfil our responsibility to act as a trailblazer, opening doors to international music life for all young talents around the globe. Let us be inventive and courageous!
© Sihoon Kim
Sincerely Yours
Peter Paul Kainrath President
Greetings
4
Dear Colleagues and Friends,
It is with great pleasure that we present the 2026 edition of the WFIMC Yearbook to you- a colorful and multi-faceted compendium of close to 130 member competitions, junior competitions, associate members and dozens of new, remarkable young laureates from this past year. The past twelve months have been a period of remarkable expansion and deepening engagement. We celebrated important milestones in Asia, publishing our Yearbook in Chinese and convening our General Assembly in China for the first time. To connect with new audiences, we launched an official Xiaohongshu channel and initiated a number of new projects that strengthen our ties to this vital cultural landscape. Our commitment to forward-thinking dialogue was further demonstrated in South Korea with two international conferences held in November and December 2025: “Discovering Tomorrow” with the Tongyeong International Music Foundation at Tongyeong Concert Hall, and “Beyond the Stage” with the Korea Arts Council (ARKO) in Seoul. In fact, a promising new partnership with ARKO will enable us to enlarge our career support initiatives for young artists in the coming three years. This momentum continues with the upcoming forum “Inspiring the Future” in Vilnius, Lithuania. Preceding our 2026 General Assembly, the public two-day seminar will be dedicated to creative programming, innovative performance formats, and the cultivation of new audiences. Now in its second edition, our renewed Yearbook format provides a great platform to showcase the unique character of each member competition. Alongside interviews with the directors of nine newly admitted member competitions, this year’s special section focuses on Conducting. Featured articles reflect on recent successes in Rotterdam and Parma while looking ahead to the Mahler and Svetlanov Competitions of 2026, all complemented by insightful conversations with Deborah Borda, Han-Na Chang, Jakub Hrůša, and David Whelton. I would like to extend my gratitude to WFIMC President Peter Paul Kainrath and our Board of Directors for their continued support, guidance and motivation, and look forward to another year of inspiration, collective expertise and shared ideas that will shape the artistic journeys of young musicians across the globe.
© Sihoon Kim
with kind regards,
Florian Riem Secretary General
Greetings
5
ABOUT US
OUR HISTORY
7
MISSION
The WFIMC brings together the world´s most important music competitions, striving for artistic excellence, authenticity, and fairness to support young artists on the path to their international careers. While denouncing all forms of discrimination, prejudice and partisanship, we aim to share the common values of integrity, equality and artistic freedom with our membership.
HISTORY
When World War II ended, many countries had been deprived of culture, and particularly of music, for several years. Rebuilding musical life from the rubble was not easy, but the process quickly gained momentum due to an incredible need for art, after years of cultural starvation. Music Competitions had existed before the war, of course: the Naumburg in New York was founded in 1926; the Chopin in Warsaw in 1927; the Queen Elisabeth in Brussels in 1937; the Geneva Competition in 1939. But in the 50s, competitions were proliferating at an amazing rate, and some kind of order was urgently needed to mark the difference between serious competitions and those for the tourist industry or those secretly organized by impresarios eager to find new prodigies. Thus, the Swiss Composer and director of the Geneva Conservatory, Henri Gagnebin, along with his friend André-Francois Marescotti, drew up the plans for the World Federation of International Music Competitions. The first meetings seemed more like a club than a committee, and delegates exchanged their views and experiences from around one single table. But soon, a protocol was established and plans for expansion were made. “To be truly international, a competition must be open to competitors from all countries, within the prescribed age limit; juries must include more foreigners than nationals, to avoid biased pressure; two competitions in the same branch, residing in the same town or its environs, cannot be part of the federation: one or the other, to cut short local rivalries.” - Henri Gagnebin (Duchene-Thégarid: “Une certaine idée de la musique”, 2014) The first constituent General Assembly of the Federation took place on February 17th, 1957 and was attended by 13 founding member competitions: Bolzano (Busoni), Brussels (Queen Elisabeth),
The World Federation in 1958
General Assembly in Geneva in 1962
ABOUT US
8
The 1958-1959 “season” of the World Federation
Budapest (Liszt), Geneva, Genoa (Paganini), Liége, Munich (ARD), Naples (Casella), Paris (Long-Thibaud), Poznan (Wieniawski), Prague (Prague Spring), Vercelli (Viotti), and Warsaw (Chopin). Later on, everything was laid out in a set of simple but concise statutes covering but one page. Annual meetings, usually on the weekend after Easter, were alternatingly held in Geneva and a foreign city, each hosted by a different member competition. “Switzerland has an enormous about to contribute in this kind of setting,. Because we have a deep-rooted tradition of dialogue, of compromise, of participatory democracy. It´s natural in Switzerland. And it’s no coincidence that Switzerland is home to the headquarters of many federations. It’s a quality we’ve built up over time. We’ve been lucky enough to be spared wars, to be a decentralized country where politics has to be very pragmatic: you have to get things in all areas: religions, different cultures….We’re obliged to make it all work together. And it works!” - Didier Schnorhk (Duchene-Thégarid: “Une certaine idée de la musique”, 2014) Once established, the Federation began to grow rapidly. From 13 members in 1957, it expanded to 35 members in 1970, 54 members in 1980, and 83 members in 1990. Today, the number is around 120 competitions worldwide. From time to time some competitions are discontinued, or they simply disappear due to lack of funding, or reorganization of the organizing institution. But on the other hand, there seems to be no lack of newly created competitions either.
Pierre Colombo
Didier Schnorhk
The Federation and its history
9
Committee Meeting in Geneva in 1999
“The Nineties were very different from today. Cell phones did not exist yet, let alone social media. But we wanted to grow, increase our activities and make ourselves known to the outside world. Gradually, the Federation changed, and rules, guidelines and communication became better. When I left in 2013, I think there must have been about 125 members. Back in the days, the majority of competition directors were musicians, who would approach things a little differently than “administrator”. Even in the Federation office, we had Renate Ronnefeld and Marianne Granvik, both violinists!” - Philippe Languin, former treasurer Until 1985, General Assemblies were held alternatingly between Geneva and other cities. Given the large number of members, that principle was abandoned, and Assemblies are now held without any geographical fixtures.
General Assembly 1990 in Fort Worth, Texas, USA
The Federation and its history
11
WFIMC Competitions around the world
Trondheim
Bergen
Trondheim
Glasgow
Odense
Leeds
Markneukirchen
Lichtenberg/Hof
Helsinki
Weimar
Bydgoszcz
Manchester
Berlin
St.-Petersburg
Poznan
Eindhoven ’s-Hertogenbosch Utrecht
Hannover
Birmingham
Warsaw
Dortmund Düsseldorf Cologne Bonn
Leipzig Zwickau
Norrköping Katrineholm
Hastings
Brussels
Katowice
Bamberg
Prague
Luxembourg
Igersheim
Paris
Épinal
Stuttgart
Bratislava
Moscow
Graz Vienna
Zurich
Munich
Besançon
Vilnius
Budapest
Bolzano
Orléans
St.-Maurice
Genève
Sion
Seregno Monza
Porcia
Markneukirchen
Vercelli
Lyon
Bydgoszcz
Parma
Belgrade
Reggio Emilia
Pinerolo/Torino
Berlin
Genoa
Warsaw
Andorra
Santander
Leipzig Zwickau
Alessandria Kiev
Roma
Lleida
Katowice
Novara
Porto
Barcelona
Las Rozas de Madrid
Prague
Barletta
Igersheim
València
Salzburg
Bratislava
Cascais Vienna
Munich Bolzano
Graz
Jaén Budapest
Porcia
Monza
Bucharest
Parma
Belgrade
Reggio Emilia
Tbilisi
Roma
Istanbul
Yerevan
ABOUT US
12
WFIMC Competitions around the world
Jyväskylä
Helsinki
Vilnius
Kyiv
Odesa
Bucharest
Tbilisi
Istanbul
Yerevan
Maps
13
WFIMC Competitions around the world
Banff
Calgary
Montreal
Cleveland
Montreal
ndianapolis
Kennett Square
Toronto
Salt Lake City
Cleveland
Indianapolis
Kennett Square
Albuquerque
Los Angeles
Fort Worth
New Orleans
San Antonio
Tel Aviv
Viña del Mar
ABOUT US
14
WFIMC Competitions around the world
Harbin
Sendai
Seoul
Tokyo
Daegu
Kobe
Jeju Tongyeong
Hamamatsu
Osaka
Takamatsu
Shanghai Ningbo
Xiamen
Guangzhou
Shenzhen
Hengqin
Hong Kong
Singapore
Sydney
Melbourne
Auckland
Maps
15
GENERAL ASSEMBLIES 1957-2029
NO.
YEAR
CITY
HOST COMPETITION
1st
1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992
Geneva
Concours de Genève
2nd 3rd 4th 5th 6th 7th 8th 9th 10th 11th 12th 13th 14th 15th 16th 17th 18th 19th 20th 21st 22nd 23rd 24th 25th 26th 27th 28th 29th 30th 31st 32nd 33rd 34th 35th 36th
Liège
Ville de Liège Intl. String Quartet Competition Ferruccio Busoni International Piano Competition
Bolzano Geneva Vienna Geneva Genoa Geneva Munich Geneva Prague Geneva
Concours de Genève
International Haydn-Schubert Competition
Concours de Genève
“Premio Paganini” International Violin Competition
Concours de Genève
ARD International Music Competition
Concours de Genève
Prague Spring International Music Competition
Concours de Genève
Barcelona
Maria Canals International Music Competition
Geneva
Concours de Genève
Budapest
Franz Liszt International Piano Competition Vianna da Motta International Music Competition
Lisbon Geneva
Concours de Genève
Paris
Long- Thibaud International Piano and Violin Competition International Johann Sebastian Bach Competition
Leipzig Geneva
Concours de Genève
Tel Aviv Toulouse
The Arthur Rubinstein International Piano Master Competition
Ville De Toulouse Intl. Singing Competition
Geneva
Concours de Genève
Leeds
Leeds International Piano Competition
Warsaw Geneva Lisbon Munich Geneva Tel Aviv
Frédéric Chopin International Piano Competition
Concours de Genève
Vianna da Motta International Music Competition
ARD International Music Competition
Concours de Genève
The Arthur Rubinstein International Piano Master Competition “Anton Bruckner” International Organ Competition Paloma O´Shea International Piano Competition International Music Competition of Japan Van Cliburn International Piano Competition Finnish Foundation for Culture/ Competitions of Helsinki “Premio Paganini” International Violin Competition
Linz
Santander
Tokyo
Fort Worth
Helsinki
Genoa
ABOUT US
16
General Assembly, Harbin, 2025
NO.
YEAR
CITY
HOST COMPETITION
37th 38th 39th 40th 41st 42nd 43th 44th 45th 46th 47th 48th 49th 50th 51st 52nd 53rd 54th 55th 56th 57th 58th 59th 60th 61st 62nd 63rd 64th 65th 66th 67th 68th 69th 70th 71th 72th 73rd
1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028 2029
Viña del Mar
“Dr. Luis Sigall” International Music Competition Vianna da Motta International Music Competition “Premio Rodolfo Lipizer” International Violin Competition Vienna Competitions and Budapest Competition
Lisbon Grado
Vienna/Budapest
Odense
Carl Nielsen Intl. Competition
Sydney/Melbourne
Melbourne and Sydney Competitions
Dublin
Guardian Dublin International Piano Competition
Pretoria
Unisa International Music Competition
Washington Reggio Emilia
University of Maryland International Competitions, College Park Intl. String Quartet Competition “Premio Paolo Borciani” International Henryk Wieniawski Violin Competition Joseph Joachim International Violin Competition Hannover
Poznan
Hannover Bordeaux
Bordeaux International String Quartet Competition
Geneva
Concours de Genève
Terni
Alessandro Casagrande International Piano Competition
Tbilisi
Tbilisi International Piano Competition
Melbourne
Melbourne International Chamber Music Competition Banff Intl. String Quartet Comp./ Honens Intl. Piano Comp. Frédéric Chopin International Piano Competition International Vocal Competition ‘s-Hertogenbosch The Arthur Rubinstein International Piano Master Competition
Banff
Warsaw
‘s-Hertogenbosch
Tel Aviv
Tongyeong
ISANGYUN Competition
Bolzano Yerevan Montréal Glasgow
Ferruccio Busoni International Piano Competition Aram Khachaturian International Competition Concours musical international de Montréal Scottish International Piano Competition Wilhelm Stenhammar International Music Competition
Norrköping
online
Virtual General Assembly due to Covid 19
Reggio Emilia Bydgoszcz Hamamatsu
“Premio Paolo Borciani” International String Quartet Competition
Paderewski International Piano Competition Hamamatsu International Piano Competition
Parma Harbin Vilnius Geneva
Arturo Toscanini International Conducting Competition Schoenfeld International String Competition Lithuanian Intl. Professional Music Competitions 70th Anniversary & Festival, Hosted by Concours de Genève
Fort Worth
The Cliburn
Andorra
Andorra intl. Saxophone Competition
The Federation and its history
17
The WFIMC is a member of the International Music Council at UNESCO in Paris. Based in Geneva, Switzerland, the Federation is supported by the Department of Social Cohesion of the Canton of Geneva.
PRESIDENTS 1957-1969 Henry Gagnebin 1969-1979 André-François Marescotti 1979-1988 Pierre Colombo 1988-1991 Robert Dunand 1991-2000 Renate Ronnefeld 2001-2009 Marianne Granvig 2009-2015 Glen Kwok 2015-2021 Didier Schnorhk 2021- Peter Paul Kainrath SECRETARIES GENERAL 1957-1979 Dr. Frédéric Liebstoeckl 1979-1988 Aline Vernet 1988-2000 Jacques Haldenwang 2001-2009 Renate Ronnefeld 2009-2016 Marianne Granvig 2016-2019 Benjamin Woodroffe 2019- Florian Riem
ABOUT US
BOARD
President Peter Paul Kainrath, Bolzano
Vice-President Sisi Ye, Harbin
Vice-President Elisabeth Kozik, Munich
Treasurer Ariel Cohen, Tel Aviv
Nicolas Dernoncourt, Brussels
Glen Kwok, Indianapolis
Päivi Pousar, Helsinki
SoHyun Kim, Tongyeong
Kristin Reigstad, Trondheim
Artur Szklener, Warsaw
SECRETARIAT
Secretary General Florian Riem, Geneva
Executive Assistant Sarah Bétrisey, Geneva
Manager Jinyoung Kim, Seoul
Manager Hana Saito Kantová, Geneva
HONORARY MEMBERS
Lottie Chalut
Michael Frischenschlager
Marianne Granvig
Philippe Languin
Richard Rodzinski
Renate Ronnefeld
Dame Fanny Waterman
Idith Zvi
Our People
19
CLIBURN INTERNATIONAL COMPETITION FOR YOUNG PIANISTS JUNE 10–19, 2027 I DALLAS, TEXAS USA
FOR EXTRAORDINARY PIANISTS AGE 13–17
FINAL ROUND WITH THE DALLAS SYMPHONY ORCHESTRA
JURY CHAIRMAN SA CHEN
APPLICATIONS OPEN MARCH 3, 2026
CLIBURN.ORG
70th GENERAL ASSEMBLY IN VILNIUS
16-21 June 2026 Town Hall, Vilnius, Lithuania Hosted by Lithuanian International Music Competitions
ABOUT US
Like the previous two editions of our annual conference, the 2026 General Assembly will be held in two parts. We will begin with a 2-day international forum titled “Inspiring the Future”, focussing on topics that concern every one of us: the importance of creative programming; the strategic pursuit of new audiences, and the development of new performance formats. Guests like the iconic Hyung-ki Joo (Igudesman & Joo), Lithuanian pianist Mūza Rubackytė, Deborah Borda (former CEO of New York and LA Philharmonic), Louise Herron (CEO of Sydney Opera House) and many others will contribute to a vibrant and dynamic conversation about the future of the arts. Organised by the WFIMC and the Center for International Cultural Projects in Vilnius, this forum will be open to WFIMC delegates but also (against a fee) to young artists, professionals, and competition laureates. Thanks to our partnership with Arts Council Korea (ARKO), the Lithuanian Academy of Music and Theatre and other organisations, scholarships covering travel and accommodation will be available to a significant number of these participants. Following the forum, we will hold our General Assembly, focussing on a number of competition-related topics and internal issues. Apart from the meetings and performances in Vilnius, we will visit two historical places: the famous lakeside castle of Trakai, followed by a boat ride, concert and dinner at the beautiful Uzutrakio Manor House; and the picturesque old town of Kaunas, birthplace of M.K. Čiurlionis and European capital of culture in 2022.
VILNIUS
The history of Vilnius is a dramatic story of rise, ruin, and resilience, etched into the very stone of its streets. The city’s official birth is marked by a grand gesture: in 1323, the powerful Grand Duke Gediminas sent letters inviting craftsmen and merchants to his new capital, nestled at the confluence of the Vilnia and Neris rivers. This act of foresight launched Vilnius as the political and cultural heart of the vast Grand Duchy of Lithuania, a multi-ethnic and multi- confessional state that stretched from the Baltic to the Black Sea. Its golden age bloomed in the 16th to 18th centuries, leaving behind the breathtaking Baroque masterpiece that is its Old Town. However, the Partitions of the Polish-Lithuanian Commonwealth in the late 18th century plunged Vilnius into over two centuries of foreign
70TH GENERAL ASSEMBLY IN VILNIUS
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rule, absorbed successively by the Russian Empire, Germany, and Poland. The 20th century brought unimaginable turmoil: two World Wars, the Holocaust that decimated its vibrant Jewish community, and decades of Soviet occupation. Yet, the spirit of Gediminas never faded. On March 11, 1990, Lithuania became the first Soviet republic to declare independence, with Vilnius as its defiant capital. Today, the city is a dynamic European capital, where its painful past is honoured, and its reborn future is celebrated with creative, joyful energy.
COMPOSERS AND ARTISTS
Classical music in Lithuania has deep roots that intertwine with the nation’s cultural identity, evolving from folk traditions into a vibrant modern scene. The foundations of Lithuanian professional composition were laid in the late 19th and early 20th centuries, with pioneers such as Mikalojus Konstantinas Čiurlionis, whose symphonic poems and piano works blended symbolism, impressionism, and national motifs. He remains Lithuania’s most internationally recognized classical figure. In the mid-20th century, composers such as Balys Dvarionas, Eduardas Balsys, and Julius Juzeliūnas shaped the country’s musical language, introducing rich orchestral textures and contemporary techniques. More recently, violinist Vilhelmas Čepinskis, pianist Muza Rubackytė, and conductors such as Gintaras Rinkevičius and Mirga Gražinytė-Tyla have brought Lithuanian artistry to major international halls. Ensembles like the Lithuanian National Symphony Orchestra, Lithuanian Chamber Orchestra, and Čiurlionis Quartet contribute to a lively concert life at home. Today, Lithuania’s classical music scene thrives through festivals, conservatories, and dynamic performers, maintaining a strong link between national heritage and contemporary creativity.
Old town, Vilnius
THE PHILHARMONIJA
The Lithuanian National Philharmonic Society — often referred to as the “Vilnius Philharmonija” — is housed in one of Vilnius’s most elegant historic buildings.
ABOUT US
24
Originally constructed between 1899 and 1902 as a theatre, the building arose from a reconstruction of what had been a merchants’ house complex. Its architectural design, by city architect Konstantinas Korojedovas, marked a shift toward grand cultural- purpose buildings — combining historicist style with refined features such as a street-gate arch, arcade, and even a bridge on the third floor that once connected hotel quarters directly to the hall. The Philharmonija was officially founded in 1940, becoming the country’s oldest and largest state-owned concert institution. After a brief wartime interruption in 1943, it resumed operations in 1944; in 1998 it was granted the status of a national cultural institution. Inside, the main concert hall seats approximately 678 — complemented by a smaller chamber hall of around 200 seats. A major renovation, completed in 2019, upgraded seating, lighting, ventilation and audience comfort while preserving heritage- protected elements, ensuring the hall remains a top-class venue for both performers and listeners. Beyond architecture and music, the Philharmonija’s history intertwines with important moments of national and cultural significance. The building once hosted the first Lithuanian bookstore (after press restrictions were lifted) and served as the assembly site of the historic Great Seimas of Vilnius in 1905, a foundational event for Lithuania’s national awareness.
Gediminas Tower
A very special place: photo from the 2021 Vilnius Tourism campaign ©whereisvilnius.com
70TH GENERAL ASSEMBLY IN VILNIUS
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Today, the Vilnius Philharmonia remains a vibrant cultural hub: its resident orchestras and ensembles perform regularly, bringing classical, contemporary, jazz and chamber music to local and visiting audiences alike — continuing a legacy that blends rich history, architectural beauty and musical excellence.
TOWN HALL
The Vilnius Town Hall is one of the city’s most iconic civic buildings and a focal point of the Old Town. Its history stretches back to the 15th century, when Vilnius—then a thriving hub of trade and crafts— first erected a Gothic town hall to serve as the center of municipal governance. Over the centuries, the building underwent multiple reconstructions, reflecting the city’s changing architectural styles and political influences. The most significant transformation came in the late 18th century, when architect Laurynas Gucevičius redesigned the structure in the neoclassical style that defines it today. The graceful portico, balanced proportions, and dignified façade expressed Enlightenment ideals and established the hall as a symbol of civic pride. Throughout its history, the Town Hall hosted city magistrates, public gatherings, markets, theatrical performances, and celebrations. It later served various governmental and cultural roles, adapting to Lithuania’s political shifts. Today, the Vilnius Old Town Hall functions primarily as a cultural and ceremonial venue. It houses elegant halls used for concerts, exhibitions, conferences, and official events. The Great Hall, with its refined architectural details, is especially prized for chamber music and public ceremonies.
Vilnius Cathedral
ABOUT US
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WFIMC 2026 70TH GENERAL ASSEMBLY IN VILNIUS Preliminary Schedule
TUESDAY 16 JUNE Arrival and Welcome Reception Concert: Hyung-Ki Joo with vision string quartet
WEDNESDAY 17 JUNE WFIMC Forum: Inspiring the Future, Day I <Setting the stage for New Formats> Concert: Lithuanian Chamber Orchestra/ Ian Bostridge, Sergei Krylov THURSDAY, 18 JUNE WFIMC Forum: Inspiring the Future, Day II <Artists and the Digital Community> GA Welcome Dinner and Concert at Užutrakis Manor
FRIDAY, 19 JUNE General Assembly Day I
SATURDAY 20 JUNE General Assembly Day II Excursion to Kaunas & Farewell Reception
SUNDAY, 21 JUNE Excursion to Kernevé (optional)
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80 e CONCOURS DE GENE ` VE INTERNATIONAL MUSIC COMPETITION 6 – 13 NOV 2026 Conducting & Composition
SPECIAL ANNIVERSARY EDITION CONDUCTING COMPETITION SEMI-FINAL & FINAL ROUNDS: 7–13 NOV COMPOSITION COMPETITION FINAL ROUND: 11 NOV © CÉDRIC WIDMER
IN FOCUS: CONDUCTING COMPETITIONS
In 2025, not one, not two, but three new conducting competions have joined the Federation: The “Guido Cantelli” in Novara, Italy; the Svetlanov Competition in Birmingham, UK, and the KNSO Conducting Competition in Seoul, South Korea. At the same time, ICCR Rotterdam has just finished its second edition, Geneva has started a two-year conducting competition; Besancon, Yerevan and the Toscanini Competition have celebrated their comeback, and The Mahler Competition is getting ready for its 2026 contest. Reason enough for us to take a closer look at some of these competitions. In the following pages, please find four interviews related to conducting competitions.
Honoring the legacy of a Giant DAVID WHELTON
Are you willing to take a risk? DEBORAH BORDA
From Prodigy to Pioneer HAN-NA CHANG
If a conductor cannot inspire, what’s there to discuss? JAKUB HRŮŠA
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HONORING THE LEGACY OF A GIANT
DAVID WHELTON Former Philharmonia Orchestra CEO
©Marcel Giger
30 FEATURES
HONORING THE LEGACY OF A GIANT Former Philharmonia Orchestra CEO David Whelton on the Occasion of the 2026 Evgeny Svetlanov International Conducting Competition in Birmingham
WFIMC: To begin, from your perspective, what makes the Svetlanov Competition special? David Whelton: I believe any of my former colleagues at the Philharmonia Orchestra would agree that this competition is fundamentally about bringing Evgeny Svetlanov’s remarkable legacy to a new generation. While there are many pathways for a conductor, understanding the legacy of those who came before is paramount. Today, Svetlanov’s extraordinary impact is preserved primarily through his recordings. The competition offers young conductors two vital opportunities: first, to meet people who worked with him, offering insights into both the great musician and the man; second, to see if they can absorb more than just technique—the profound depth of his score comprehension and his singular focus on bringing the composer’s (and never his own) ideas to life. It was always about the music. It is this spirit of Svetlanov that I hope young conductors experience and carry forward. In past editions in Paris and Monte Carlo, it was fascinating to see competitors from diverse backgrounds begin to understand this extraordinary individual and his Russian heritage, which was matched by a truly international musicianship— whether in Mahler or, for British musicians, in Elgar. This highlights the universality of Svetlanov’s musical spirit.
How is that legacy taught and conveyed during the competition?
That is the key question. Competitors arrive already technically equipped. The learning comes from interaction—with the audience, the professionals around them, and especially those who knew Svetlanov well. Through feedback, they learn about and reflect on his ethos. It cannot really be directly taught or explained; it is about being among people who understood his achievements. As a competitor, I would ask: why does this competition exist? What makes it endure? Competitions honoring a specific musician, like this one, differ from those simply carrying the name of a city. Competitors should seek to understand the individual behind the name! I think it is simply a great opportunity to be with those who comprehend Svetlanov’s work. That ensures every competitor takes something valuable away, regardless of winning. Having served on many juries, I find it inspiring to see how finalists, having overcome early challenges, are then ready to dig deeper into Svetlanov’s legacy. Could you name some artists who embody this legacy? Certainly. Andris Poga, an early winner, learned a great deal about Svetlanov, which was clear when I was seeking new talent for the Philharmonia. Robert Trevino, from a very different background, also reflects Svetlanov in his musicianship. Then there is Domingo Hindoyan, to whom I gave his UK
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debut with the Philharmonia—a remarkably talented conductor and another exemplary ambassador for the Competition. Regarding the jury process, how does the Svetlanov Competition reach its verdict? In my experience, the process is managed very carefully. Initially, jurors assess candidates independently without conferring. Then, under the jury chair’s moderation, a consensus is sought through rigorous discussion. The caliber of the jury ensures robust debate, always mindful that the decision carries Svetlanov’s name forward and represents a vote of confidence in these young conductors. The discussion ultimately focuses on key points, considering the stage of someone’s career and their future potential. There is no pressure to name a winner if none is unequivocally outstanding—the integrity of the musical opinion is paramount. A valuable aspect is the jury’s willingness to spend time with finalists afterward, offering crucial guidance. Each competitor brings unique circumstances; I recall a profoundly moving moment in Monte Carlo when a Ukrainian conductor was emotionally affected by events at home. The process, while tough, is respectful of the competition’s founding principle. Given current geopolitical tensions, how does the competition address its Russian heritage? This was addressed head-on by Marina Bower in 2022. She made it unequivocally clear that the competition has no administrative, managerial, financial, or artistic ties to Russia. Svetlanov himself had to flee Russia; he was effectively stateless. We must separate the artist—and the great Russian musical legacy—from the regime. In the UK, support for Ukrainian sovereignty is unwavering, yet we distinguish between Russian artists who are persecuted or disassociated from the government and those who actively support it. The former are welcomed; the latter are not. This competition honours a specific artistic
legacy, not a political entity. As my former principal conductor Christoph von Dohnányi, whose family was murdered by the Nazis, reminded us: those who have lived under a police terror state also uniquely understand its horrors. We must not destroy artists’ lives simply for their nationality, but we must remain vigilant against those complicit with oppression. Finally, what practical career outlook does the competition offer its laureates? The first step is to attract as many artist managers and orchestra intendants as possible, providing a platform for candidates to perform before potential employers. This is preceded by promoting the track record of past winners to build confidence. Secondly, the competition facilitates one-on-one meetings between candidates and jury members who are intendants, practising conductors, or industry leaders. This offers invaluable advice, especially when young conductors face multiple offers and must navigate their next steps. These opportunities—door openings and learning moments—are crucial for building a sustainable career. Ultimately, the competition serves within a professional framework that has improved immensely, benefiting both musicians and the public we all serve. David Whelton was born in 1954 and trained as a pianist and organist. Following an early career in education, he joined the Yorkshire Arts Association and subsequently Leeds City Council prior to moving to the music department at the Arts Council of Great Britain. In 1988 he was appointed managing director of the Philharmonia Orchestra. During David’s tenure at the Philharmonia, the orchestra became an indispensable part of British and international musical life. It has established new relationships with many of the great conductors who shaped its musical history and has initiated and developed the concept of orchestral residencies. It is recognised today as a pioneer and leader in this work within the UK.
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ARE YOU WILLING TO TAKE A RISK?
DEBORAH BORDA Former CEO of the New York and Los Angeles Philharmonic
34 FEATURES
ARE YOU WILLING TO TAKE A RISK? Former CEO of the New York and Los Angeles Philharmonic, Deborah Borda talks about conducting competitions, jury rules, and Gustavo Dudamel
WFIMC: You have been on the jury of a number of important competitions. Recently, you spent two weeks in the Netherlands as Chair of the International Conducting Competition Rotterdam. Deborah Borda: It is called a competition because you select a winner at the end, or in our case, winners. They both had excellent skills, yet they were different from each other. But what struck me about the competition was the scope of it: it´s not simply a star turn, but it’s really being aimed at developing young artists. For more than a year, they develop the finalists. They take them to Vienna and London, they introduce them to people. That is so different from any other competition- it just puts it in a whole different league for me. I think the actual experience for the conductors is almost the equivalent of getting a master´s degree.
juries. The challenge was to integrate and meld the incoming specialty juries with the core jury. There were 5 separate groups of “specialists” for each category: people like Dame Jane Glover and Iván Fischer came for Baroque music, composers like Brett Dean, Eric Whitacre and Cathy Milliken came for the contemporary round, Sarah Hicks (a terrific conductor who has a pops specialty) came for the pops concert in the park, and Vasily Petrenko and Han-Na Chang came for the finals with the Rotterdam Philharmonic. It was fascinating to have two juries to work together, and they all did very well. If you were on the core jury, you worked for 10 days straight, which was exhausting. But it was also a wonderful learning experience for us.
How does it compare with the other competitions you judged?
The program was quite demanding.
The other competition jury I´m on is the Mahler Conducting Competition, which is also excellent. It´s very different, although it is also spread out over a significant period of time. It has very different operating rules. In Rotterdam, we didn´t discuss the conductors until after we voted; in Bamberg, we discussed as we went. Here, the repertoire is more spread out, even though at the Mahler they also do classical and contemporary repertoire. And then, of course, there is a big Mahler symphony, which is quite a challenge for most young conductors.
In one week, they conducted five concerts, each with three rehearsals, with wildly different programs! This is something that a senior conductor in the United States would never do. Yes, they had time to prepare, but five different programs on three rehearsals within a week- that is a marathon. They were exhausted at the end, but not only physically: it was an intellectual marathon, it was a growth marathon for them.
It was also a marathon for the core jury!
Probably the contestants were not that aware of this, but there were five different
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Looking at the history of the Mahler Competition and its laureates, there are a lot of winners who have made it to the top ranks, including Gustavo Dudamel. Actually I wasn´t on the jury in 2004. Esa- Pekka (Salonen) was keeping me in touch. I was in Los Angeles, producing a Hollywood Bowl Extravaganza, when he first told me about this remarkable young guy. At the end, Dudamel almost didn´t win. There were certain people on the jury- I won´t say who they are- who were just opposed. It was ridiculous. At any rate, the minute he won, Esa-Pekka called me up and said, “hey, are you willing to take a risk? I think we should have this young guy. He barely speaks English, he doesn’t speak a word of German, but it was the best damn Mahler Five I´ve ever heard”. I booked him the next day. He came, we had two dates at the Hollywood Bowl, and it was love at first sight….
What do you think is the reason for this outcome? It´s hard to give you a reason aside from obvious sexism, but you should remember that one of the difficulties for young conductors are that unlike a pianist, who can always get a piano, and unlike a violinist, who always carries his instrument along, a conductor always needs an orchestra to practice on. I was the first woman to run one of the big five orchestras in the US, and that wasn´t until 1991. We did not set quota at the New York Philharmonic, but we knew that we wanted to have a presence of gender diversity. Did you face discrimination yourself at the time? I had been Deputy Director of the San Francisco Symphony for almost nine years, so I had a lot of experience. From San Francisco, I went to be President and CEO of the Saint Paul Chamber Orchestra, and from there, President and CEO of the Detroit Symphony. But then, I was offered the Pittsburgh Symphony, which is a wonderful orchestra as well. We had agreed on a contract, the orchestra committee wanted me, the board wanted me, and all I needed was the blessing of the Music Director, Lorin Maazel. I was flown to London and went to meet him for tea at the River Room of the Savoy Hotel. I waited for two hours, but he never showed up. So I called the chairman, and I could tell immediately that something wasn´t right. Still, he told me to see Maazel at an orchestra rehearsal the next day. I went and approached Maazel during a break, but he completely ignored me. Only when I insisted, he offered to see me after the rehearsal. He took me to his dressing room, put his feet on the desk right in front of my face, took out a cigar box and said:
You were also on the jury of La Maestra.
Yes, I also went to La Maestra in Paris, which was an increasingly old-fashioned competition, except that it was all women. By the way, I do not believe in all women competitions. We have to have the best people, period. On the other hand, I´m glad that La Maestra was held, because it brought people´s attention to a problem that really matters. In Rotterdam, there were no women in the finals. Indeed, I could not believe that it was all men. There are so many gifted women, so many young women conductors- I did not understand that. The directors felt badly about it, and somehow it was the way it had worked out, but for the future, I realized that we will need to use our positions to make sure we have more gender balance. This is an ongoing problem, a problem that is changing and evolving. Not only me, but also the men on the jury felt that way. But in any case, I don´t think it will happen again..
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“Would you care for a cigar?” I said: “thank you, but I don´t smoke”. He sighed and went on: “Alright, tell me your brilliant life story!”. I replied, well, it´s not brilliant, but here is the story. He listened to me for about four minutes, then stood up and said: “You are going to have a magnificently successful career. Thank you very much. Good bye.” I went back, called the chairman and said:”I don´t think this is going to work….” It was a very painful moment. I tell people this story because I remember how hurtful it was, but how at the same time it made me even more determined. And before long, I became Executive Director at the New York Philharmonic. Deborah Borda has extended the artistic, commercial, and technological boundaries of what an arts organization can be in the 21st century through creative leadership, commitment to innovation, and progressive vision. As President and CEO of the New York Philharmonic, she revitalized the institution, working with NY Phil and Lincoln Center leadership to transform David Geffen Hall, deepening connections with the community through initiatives such as NY Phil Bandwagon during the COVID-19 pandemic, and engaging Gustavo Dudamel as the Orchestra’s next Music and Artistic Director. Throughout her career, Borda has advanced how arts organizations serve their communities through her leadership of ensembles including the Saint Paul Chamber Orchestra, Detroit Symphony Orchestra, and especially the Los Angeles Philharmonic, where she worked on key projects such as the building of Walt Disney Concert Hall, the total renovation of Hollywood Bowl, and the creation of community engagement programs including the nationally recognized Youth Orchestra Los Angeles (YOLA).
Deborah Borda with Gustavo Dudamel
Conducting Competitions
FROM PRODIGY TO PIONEER
HAN-NA CHANG Cellist and Conductor
©Kiran West
38 FEATURES
FROM PRODIGY TO PIONEER Han-Na Chang on Music, Mentorship, and Breaking Barriers
WFIMC: What was your experience as a juror at the Toscanini Competition in Parma? Han-Na Chang: Every day was a discovery. What impressed me first was the generous format—an hour for each candidate in the preliminary round, then 70 minutes, and finally a three-hour rehearsal with the orchestra. It was as if the competition was saying, “We truly want to get to know you as an artist.” The organization was flawless, with all scores and materials waiting for us each day. This efficiency allowed the jury to focus completely on the music and the candidates. And Parma itself was a revelation. What a beautiful place to have a competition! The old town, the Duomo…Discovering its culture, the history behind something like prosciutto—it all speaks to an incredible attention to detail and dedication. That, of course, is what music is all about. It made me see that this wasn’t really a sports tournament. It was about bringing people together to share ideas. Our winner, Stefan Armasar from Russia, had never been outside his country. Imagine what a profound, eye-opening experience this was for him. Competitions like this are a vital ground for cultural exchange. I left feeling very inspired. That sounds very different from your own early competition experiences. What is your first memory of competing? My very first was a small competition in Korea when I was eight. I just went and played, and they announced that I got the first Prize. But the pivotal one was the 5th Rostropovich Cello Competition in Paris in 1994. I was eleven. I didn’t enter to win; I entered to meet Maestro Rostropovich… I really wanted to meet him. In 1993, he came to Korea and gave a recital, probably
even a masterclass. My parents approached the promoters, but were turned down immediately. “Oh no, not for Children!” Even when my family moved to New York so I could go to Juilliard, I didn´t get a chance. Rostropovich gave a masterclass at Manhattan School of Music, but I was too young to be admitted. But then one day, looking through a music magazine, I found this ad for the Rostropovich Competition in Paris. It was to take place in October 1994, and anyone under the age of 33 was eligible to participate. I think they had simply forgotten to mention a lower limit. So my parents sent the application, and it was accepted. When I arrived in Paris, they told us they had thought it was a mistake and I was 21 years old… but they let me play. Could you speak any French or English at the time? No, not at all. It´s a beautiful memory: I went there to meet Rostropovich, not to win the competition. For me, being able to play for him was like winning. It changed my life, what can I say? For someone like me, with no musical family connections, competitions are an equal ground, where anybody can come and show their work. They are incredibly meaningful because they allow you to be seen for your work alone.
You prepared for the competition with Mischa Maisky, didn’t you?
Yes. Mischa is one of the most important teachers I’ve had. He had come to Korea in 1992, and my parents gave him a tape of my playing. He actually listened to it and later invited me to participate in his Chigiana masterclasses in Siena. When I decided to enter Rostropovich’s competition in 1994, I played the whole competition repertoire for him in Siena: Bach, Britten, Beethoven,
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Application Deadline February 28, 2026 VIOLIN.ORG
12 tH Q uadrennial i nternational V iolin C ompetition S eptember 17 - o Ctober 4, 2026 J aime L aredo , J ury P resident
T he I ndIanapolIs might well be the world’s leading competition in terms of cumulative prizes and career development for its winners. –The Strad
S irena H uang 2022 Gold Medalist
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FOUR DECADES OF DISCOVERY
Debussy… Dvořák for the finals. Before I went to Paris, he invited me to come a few days in advance to play for him in Brussels and also overcome jet lag. He was a very generous teacher. Looking back from the jury chair now, what is your advice to young musicians starting their careers? Be passionate, and don’t lose that passion. The world has gotten so much faster. In 1993 you would send an application by post, and then you had to wait for many weeks if not months. Today, everything happens in real time… We give young musicians less time to think and develop. But like every fine wine, every great work of art needs time and dedication. It’s a marathon, not a sprint. As a juror, what I appreciate most is seeing that “craziness” for the music. Show me how much you love it. That love forces you to study a score inside out, to care about every dot and accent. In those details, your character emerges. So don’t be afraid to show what you believe in—but you must know it deeply. Otherwise, you’re just faking it. A final question about aspiring conductors, particularly about young women. What’s your view on the current musical landscape? Personally, I think of myself as a conductor, not a female conductor. I just want to be a good musician. But the glass ceiling is a reality in every field. The positive change in the last decade is that organizations are now actively inviting women, which has sparked the necessary debate. However, we must not be used just to fill a quota. Our work must be evaluated with the same seriousness. We stand on the shoulders of pioneers like Marin Alsop. Her story—the repeated rejections, the resilience—is what we must learn from. It’s not about being a woman; it’s about the work, the dedication, the love for music that makes you fight for it. Take any challenge as extra motivation. Have courage and keep going. Striving against odds is where you find your inner strength. And one day, I have no doubt, female conductors will
be regarded as equally strong, precisely because of that journey.
Han-Na Chang first captivated the world at the age of 11 by winning the Grand Prix at the 1994 Rostropovich International Cello Competition. Building on this early success, she has crafted a uniquely multifaceted career. After establishing herself as a cellist, she devoted herself exclusively to conducting from 2007 onward, leading prestigious ensembles such as the Royal Concertgebouw Orchestra, Orchestre de Paris, Munich Philharmonic, and the Vienna Symphony. Her artistic leadership, grounded in a Harvard philosophy education, extends far beyond the podium. She is a sought-after speaker on culture and leadership, addressing forums like the Asia-Pacific Performing Arts Centres and NAVER. In a pioneering move, she was appointed a Distinguished Visiting Professor at KAIST’s Graduate School of Culture Technology in 2025, collaborating on frontier research at the intersection of AI and the performing arts. Guided by profound musical insight and a conviction that music’s joy should be shared by all, Han-Na Chang continues to forge a distinctive artistic path, expanding the horizons of classical music with depth and vision.
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