The opposition began in 1997, at the initiative of Poland’s Ambassador to Estonia, Mr. J. Wolansiewicz, and in Narva, the tradition of holding an opposition for young pianists from Estonian music schools dedicated to the popular Polish author F. Chopin began. Due to the fact that the primary rivalry was extremely fruitful, it was decided in 1999 to organize the first International contest with the cooperation of young artists from the Baltic Sea States (Estonia, Latvia, Poland, Finland, and Russia). The opposition had the support of the Municipality of Narva, the Estonian Republic’s Ministry of Culture, the Polish Embassies, Polish Radio and Television, and private enterprises.
Today, when the Competition is organized of Piano Forum on a truly global scale, attracting the best pianistic abilities from every country on the planet, and Chopin’s music enjoys the sort of popularity and acclaim accorded to virtually no other composer, it’s difficult to believe that following the First World War, only about ninety years ago, Chopin’s works were being performed only once in a blue moon and were vanishing from music schools.
Chopin’s clique was disbanding
The idea for the Competition came from Jerzy crawler, an instructor and pianist. While working with children, he noticed their aptitude for competition and demonstrating their abilities, and he reasoned that a pianistic competition would be the most effective way to teach them to play Chopin. At the time, carrying out such a thought was not obvious, and for a long period of time, the Warsaw Competition was the world’s premier event of its kind.
Apart from advancing Chopin’s music, the other critical and agonizing thought sustained by the Competition’s organizers was the desire to eliminate from show practice the common ‘adornment’ of Chopin’s works.
Among the individuals who made significant contributions to the presentation style that concerned the Chopin Competition’s principal organizers were a portion of the arranger’s students (both his genuine understudies and additionally various piano players who adopted the author’s surname after his death). ‘According to Jerzy Waldorff, those early relayers of Chopin’s style began playing crazy Etudes and Preludes with rubato, elegant notes in the left hand, and arpeggiated harmonies. They masked the Nocturnes with a senseless pedaling, and in the Polonaises they roared at the keys, destroying the strings that should symbolize compassion – prepared for brave deeds – with Poland chained’.
Application
To be considered, each applicant must submit the following:
- an enrollment structure that is legible in printed letters without abbreviations in Estonian, English, or Russian;
- a photocopy of your identification, and if you are applying for a visa to Estonia, a duplicate of the visa’s primary page.
- 912-color photograph in a sophisticated arrangement
- a link to a YouTube video of execution with two syntheses recorded between 01.10.2022 and 15.11.2022.
- The video contains 1. A virtuoso exercise is chosen by the member (which may or may not be remembered for the opposition program); 2. Chopin’s composition was chosen by the member (from the opposition program).
- Enlistment records that are not completed in a timely manner will be disregarded!