The Isidor Bajić Competition in Novi Sad, Serbia stands among the strongest and most respected piano competitions in Europe. Each edition attracts talented pianists from across the globe — not only geographically diverse, but culturally diverse as well. Novi Sad’s unique cultural crossroads create a place where piano traditions from different continents meet, offering a rare opportunity for a true international exchange at the highest artistic level.
The organisation this year (too) has been exceptional. Everything is prepared with care, and the practice facilities are simply outstanding, giving every pianist the chance to prepare with focus and peace of mind. As a Jury Member, it is a pleasure to be part of such a thoughtfully structured event.
One aspect that becomes clear in competitions is the importance of knowing how to handle the instrument in different acoustic environments. This year, we listened to performances in two distinct halls. For the younger participants, this presented a challenge — suddenly they had to adapt their sound, projection, and touch to new surroundings. Yet, this is exactly the moment where readiness, experience, and artistic inspiration reveal themselves. And truly, many of the young pianists were exceptional.
When evaluating performers, I am always reminded of two essential pillars of piano playing:
phrasing and sound quality.
These two elements shape everything. Playing the piano is like speaking to someone — it matters what you say, but equally how you say it. The musician must go beyond the mechanics of the instrument and create a direct, expressive communication with the listener. This is a dimension of artistry that cannot be replaced by technical skill alone.
I am pleased to share more about this in Season One of my Video Lectures at PianoMasterClass. I increasingly notice a gap in modern piano education:
too many lessons focus heavily on technique, while phrasing and sound quality receive less attention — even though the world demands ever deeper, more refined musical expression.
My aim is to bring these elements back to the centre of piano playing, where they belong.
