One thing I wanted to do above everything else was to open up the freedom of repertoire choice completely.
For Leeds, you can play whatever you like.
This Competition is not a test of whether you can play this or that; rather, it is a platform for you to show us who you are and what music you love. My hope is that this freedom will encourage you to be more, rather than less, adventurous in your choices.
Mozart, Haydn and Beethoven? Absolutely. But what about Hummel, Dussek or Clementi? Robert and Clara Schumann, certainly – but perhaps Georg Schumann or William Schuman as well? We all love Rachmaninov, but what about Medtner or Bacewicz? Then there is the wealth of wonderful piano music from South America, Asia, Scandinavia and Great Britain. And what about writing something yourself?
Assembling a satisfying and stimulating recital programme is an art in itself. It may be worth considering that the fourth performance of the Liszt B Minor Sonata on the same day is not always the most effective way of reaching a weary jury and audience. But if you are passionate about it, then play it.
You will not be penalised for presenting a whole programme of Morton Feldman, although don’t blame us if you find yourself listening from the audience rather than playing in the Final!
The Concerto Final at Leeds is unusual in that competitors must submit three concertos, freely chosen, any of which they would be willing to play in the Final. One of these will be selected two weeks in advance. Because of this, it is important to understand that the jury’s assessment takes into account all rounds of the Competition, not simply the Final.
If you wish to propose all three Bartók concertos, that’s perfectly fine. Equally, if you have presented a great deal of high-powered or Romantic repertoire in your recital programmes and wish to offer Mozart in the Final, that is something we will welcome. The Final carries no greater weight in our judgement than the earlier rounds. We will not forget the dazzle of your Scriabin simply because we are being touched and delighted by a Classical concerto.
Above all, I hope you will use this freedom to present music that matters to you. We are interested not only in how you play, but in the artistic choices you make and the musical story you wish to tell.
Sir Stephen Hough
Artistic Director & Chair of the Jury