Unable to sleep one night in 1961, Dame Fanny Waterman came up with the idea of an international piano competition in Leeds. Two years later the first Leeds International Pianoforte Competition was launched. Dame Fanny was later to be joined by Marion Thorpe CBE, then Countess of Harewood, whose own musical tastes were formed in Vienna, the culture-rich city of her birth.

Dame Fanny Waterman (born in Leeds, 1920) showed musical promise at a very early age and, very fortunately, both parents gave Fanny great encouragement as she showed great passion and flair for the piano. At school she was keen on the classical composers - Bach, Beethoven and Brahms - but, keen to curry popularity with her peers, she learnt also the popular songs of the thirties. As a result of such flexibility of approach, she found herself to be socially in demand - an attribute which has survived throughout her life to the present day.

 
Dame Fanny Waterman DBE with Marion Thorpe CBE

In 1941 she met, and in 1944 married Geoffrey de Keyser, who eventually became a successful and much admired General Practitioner in Morley, Leeds. Geoffrey gave Fanny immense support. Until his death in July 2001, he played a valuable and active part in the Leeds International Pianoforte Competition travelling with Fanny all over the world as she worked indefatigably as an international juror and as Vice-President of the World Federation of International Music Competitions. Since that first competition in 1963, there has been controversy, criticism and much well-deserved praise from the music world, the media and the public. The event has, however, survived triumphantly and gained immeasurably in stature and status during the course of the fifteen competitions held at the University of Leeds and Leeds Town Hall.

The Leeds International Pianoforte Competition remains in the league of the world's top ten piano competitions including the Tchaikovsky, Chopin and Rubinstein and America's Van Cliburn. It is world renowned for being well organised and receives enthusiastic tributes for this and for its warmth, friendliness, and generosity. It has been said that the whole city seems to be involved and the people encourage a cordial atmosphere with the competitors who are very much welcomed to Leeds. Dame Fanny Waterman has evoked great loyalty and enthusiasm from everyone. The Competition benefits immensely from the services of a core of devoted, loyal and tireless helpers under the inspirational leadership of Dame Fanny Waterman DBE, working closely with Competition's Administrator and the Honorary Treasurer.

It was considered that the only fair and reasonable alternative to the patronage system which fostered great soloists over generations is to compete. 'The Leeds' as it is affectionately known, has attracted an abundance of potential winners to each of the fifteen Competitions, and will do so again for the sixteenth Competition in 2009. But what makes young pianists submit to this gruelling ordeal? Few would admit to enjoying the competitive experience but many would agree it is the fairest and most obvious way of introducing themselves to the public.

It has been said that any Competition is as good as its Jury and at each edition of the Leeds International Pianoforte Competition there has been a tradition of selecting jury members of international calibre with expertise, a wide knowledge of the piano repertoire and the skills of the pianist. Some of the world's most eminent professors have been included in the Leeds' Jury of fifteen members because they have experience in dealing with the competitors' variances of style and interpretation.

Until the mid 1970s, the Leeds International Pianoforte Competition had survived financially, mainly through the determined efforts of Dame Fanny Waterman herself with the support of her loyal and dedicated team of volunteer helpers and the generosity of that energetic organisation - the ‘Friends of the Leeds International Pianoforte Competition.’ In order to retain the high prestige of the Competition and continue to attract competitors with a high international quality, the prize money had to be raised, so a decision was reached to seek and secure a major sponsor.

Although prizes are awarded to winners, highly prestigious engagements are offered to the Competition thus allowing not just the winner, but any prize-winner, to be the recipient of such invitations. Competitors are encouraged to capitalise on their experience at Leeds especially in respect of the media exposure which they are guaranteed to receive and particularly an abundance of exposure given to the finalists. Rewards will vary, yet careers will flourish from their exposure at Leeds; many runners-up have achieved success on the international concert platform.

Winners at Leeds will be adjudicated critically by the press and will have to prove adept at producing quality performances on the concert platform. After the success at Leeds, the winner is thrown out into the cold to be instantly measured against previous winners of 'the Leeds' and the glut of professional pianists world-wide. It is vital therefore, for any young pianist to attract a top manager, who will remove the pressure of self-promotion and the negotiation of fees but who has the contacts to lead a career along the right paths. It must also be said that individuals have to be responsible for themselves and therefore a level of toughness is paramount to ensure a career is not pushed in the wrong direction.

The prognosis for the future of ‘the Leeds’ depends on the standard of future winners, but Dame Fanny Waterman has great conviction and a truly remarkable capacity to influence people in helping her wish be fulfilled - that the Leeds International Pianoforte Competition is forever.