Five of the six winners of the International Horowitz Competition in the Juniors Group are Ukrainians.
This year the competition featured young pianists from the Horowitz Debut Group and more experienced pianists from the Juniors Group. According to Valerii Kozlov, the head of the jury for the Horowitz Debut, the 42 musicians did their utmost to perform well. There were four nominations, depending on the program’s level of difficulty. It is gratifying to note that the Ukrainian school of piano distinguished itself. The Ukrainian pianists Volodymyr Kochniev and Anatolii Khara, who gave an interesting interpretation of Myroslav Skoryk’s “Burlesque,” were awarded special prizes — for “Masterful Achievements” and “Best Performance of a Ukrainian Composer’s Work,” respectively.
In the Juniors Group the panel of judges was headed by maestro Myroslav Skoryk. Eleven musicians showed their virtuosity here. The jury decided not to award the first prize to anyone, and the second place was shared by a pupil from the musical school at the Peking Central Conservatory Nanson Huan (China) and Valeria Shushkevych, who studies at the Donetsk Music School for talented children. The third and fourth prizes were divided among four pianists from Ukraine.
Maestro, what is your attitude to children playing serious “adult” program during competitions?
Competitions provide a great stimulus to artistic life. They instill a feeling for the stage and a feeling for the “listener.” As for the competition program, everything depends on the way the children perform the competition works. Today, acceleration is reflected even in their performance. I think this should be encouraged, but only if a young musician has the right skills to play serious music.
Do the criteria for assessing child and adult performers differ?
There is definitely a difference between the assessment criteria. Every age has its specific features and the jury members should take this into account. Even a two-year difference is felt in the Juniors Group. Children have an entirely different approach to performing compositions. That is the reason why the jury has to be very careful in its assessment. We should consider even the smallest nuances of children’s psychology.
Did the children’s interpretation of classic works this year differ from previous years?
Without a doubt, the interpretations are changing. I think that the times are dictating new conditions. Even if we listen to recordings of the old virtuosos, we understand that their interpretation is interesting but very different from the way it is interpreted today. This is a very interesting problem. It stems from the fact that every performer has individual traits.
Why do most children today want to become pop stars, not academic musicians?
This is a global problem that affects children in many countries. I think that the end of the 20 th and the beginning of the 21st century is a time when not only music but all serious art is suffering a decline. Today pop music is hugely popular all over the world. I’m very troubled by the fact that many young people are degrading. They cannot listen to so-called “serious” compositions. Academic music and popular music are going down different paths. There is such a concept as fashion, which soon passes, but the classics are eternal. Even the Vladimir Horowitz Competition proves that classical music has its audience, performers, and fans. It lives and will live for a very long time.
I consider this year’s competition a success. But it is a pity that there were so few participants in the Juniors Group — 11 musicians in total. We did not award the first prize to anyone, and the second, third, and fourth prizes were divided between two competitors. For example, Nanson Huan from China, who shared the second prize with Valeria Shushkevych, received a special prize for “Virtuosity,” while Shushkevych was awarded a prize for “Best Performance of a French Composer’s Work” as well as a personal prize: “London Prize — Master-Classes and Concerts in London.”
Perhaps the small number of competitors is explained by the fact that the competition took place in late October, and children attending school could not prepare seriously, while others did not dare take part in the competition. However, we heard some very nice performers, who are taking their first steps on the stage. I think we will be hearing about many of them soon.
What do you feel when children are performing your compositions?
It is pleasant. I allow different treatments and interpretations, which is why I don’t give way to personal feelings. In the first place, I take into consideration whether someone is playing convincingly, feeling the music, and finding something new.
