Our instrumentalists and international competitions
There are several parameters in the design and measurement of the instrumenter’s CV. Among other things, they list the awards they have received in different competitions. This ranking is also indicative of their level. To this end, bodies of European and world competitions have been established, while in Europe there is the World Federation of international music competitions based in Geneva, Switzerland. This association, founded in 1957, is dedicated to creating a worldwide network of different bodies that discover new and promising future talents. The map of European competitions is full of competitions, starting from Sweden (for example, the international competition under the name of the princess of the country, the Karl Nilsen Multiply Discipline Competition in Copenhagen, Scotland (Edinburgh), and in southern Europe, eg Competition in Rome named Luciano Berios Here is a reduced map of Europe where various important and popular competitions take place:
For a complete list of competitions run by WFIMC members, visit the website: https://en.wikipedia.org/wiki/List_of_classical_music_competitions
The competitions are divided into various instruments for voice, orchestra direction and musical composition. The weight of the competitions depends on the names of the members of the jury and their continuity. Most competitions take place in the most developed countries not only because of their economic strength, but mainly because these countries value artistic loyalty and base every fair opinion on open and fair competition. Note that the countries of Eastern Europe are less exposed on this map. Of course in all European countries there are different competitions for age and artistic levels. But in Albania there are only a few and those centered on the piano instrument, for small children and in Tirana. (eg EPTA competition).
All pianists over the age of 20 do not have the opportunity to test their skills and talent and are considered “good” or “very good” by the prejudices of the people around them. Of course, this also means that the jobs are filled with items that have a significant dose of distrust in the choice.
On the other hand, the participation of our instrumentalists in competitions is also limited by the economic opportunity. To participate eg. the Vienna (FEURICH Competition) for piano, voice and chamber music, which takes place in May, must buy three air tickets and even one for the cello in the case of a trio. In addition, you must pay your accommodation and a fee of 60 euros. No institution has planned any financial assistance for young musicians who have musical opportunities but not the economic opportunity.
For these and many other reasons our young instrumentalists do not take part in international competitions, because the more experienced ones do not want to question their “skill” worn for years by “sweat” “.
When can this situation be changed? When will there be an institution to help talented young people take part in these competitions? When will we really begin to certify the abilities of musicians? When will we turn the gaze of young people towards these mentalities?