The positive power of competitions: it is about providing artistic development, educational enhancement, scholarships, seminars, master classes and performance opportunities.

It is 8:00 A.M., Friday, June 28, 2002, and we are in a car, driving from midtown to the Manhattan School of Music for the last day of The Inaugural New York Piano Competition (NYPC). It will begin at 9:30 A.M. with the ensemble round, where all twenty-two contestants, divided into eleven teams, will compete for two prizes in the one-piano, four-hands category. Following a lunch break, the six judges will work with all the contestants in master classes for approximately three hours. After a short rest period, the final ceremonies will begin at 7:00 P.M. in Borden Hall, with all the candidates on stage, a full house in the auditorium and everyone waiting with great anticipation.

Just how did this all occur? Who conceived the NYPC, and what is it all about? It is not just another piano competition. It is about providing artistic development, educational enhancement, scholarships, seminars, master classes and performance opportunities. Guidance also is offered to help expand and focus the contestant's horizons toward the pursuit of a realistic and attainable music career. It is the experience of a lifetime that ignited the idea, as well as our perseverance as executive directors, duo-pianists, educators, clinicians, masters of encouragement and mini-philanthropists in the music education field. That's what made it occur.

We have been performing before the public as duo-pianists since each of us was nineteen years old. After appearing for four years in commercial establishments, as well as a month-long engagement at Radio City Music Hall, we signed with a major concert management company and toured the country from 1955-1998 with two Steinway concert grand pianos, a specially constructed truck and a driver. Interspersed with these tours of the USA were appearances in Canada, Europe, Japan, Australia, Central and South America, and Israel. Concurrent with our tours, we directed The Stecher and Horowitz School of the Arts, in Cedarhurst, New York, from 1960-1999 and authored The Stecher and Horowitz Piano Library, published by G. Schirmer.

Fulfilling childhood dreams of a career on the concert stage, we combined performing with teaching for half a century. In 2000, we chose to add another aspect to our highly profiled dossier by creating a competition for outstanding young pianists, ages 14-18. Researching our concept for two years, we arrived at a formula that would set our thoughts apart from any other, not in its entirety, but sufficiently to make an enormous impact in the world of competitions. This included no elimination throughout the competition, giving each contestant the opportunity of performing in each round, and awarding a $1,000 scholarship to each contestant not receiving any of the top prizes after participating for five comprehensive days. Though winning is always exciting, the NYPC offered a climate for learning and sharing that made every contestant a winner.

Having advertised the NYPC in major periodicals and music conservatories, as well as through mailings to outstanding teachers, and community and private music schools, the response was somewhat overwhelming. Within three days of the application deadline, the New York office of The Stecher and Horowitz Foundation was deluged with approximately 150 applications. It was amazing to read all the accomplishments of each applicant and, even more so, to listen to the accompanying CDs and tapes. Following an extensive time period with the screening judges, twenty-two contestants were selected--an extremely difficult task and one that required educationally sound appraisal and listening skills.

Some of the loveliest and most heartwarming moments prior to the actual competition occurred during telephone conversations with the newly chosen contestants upon notification of their acceptance into the NYPC. Their genuine excitement, appreciation and enthusiasm reinforced our belief that we were on the right track. The following three and a half months were filled with the most unbelievably time-consuming and intensive moments of anxiety, work sessions and exciting periods of creativity ever experienced in our long careers as mentors.

Necessary plans for the competition included selecting a distinguished jury that would be sympathetic to young talent. Tasks included choosing the proper venue, arranging the schedule of events and creating seminars (Planning a Career in Music and Embracing Contemporary Music), as well as working out a final schedule and time table that would be realistic, successful and within the guidelines of established, successful competitions. A program book had to be created, final repertoire for each contestant had to be timed and biographies had to be complete and accurate. Panelists had to be selected for the seminars, and all related plans for video and sound recording had to be finalized. Accommodations for contestants and their families, either at a hotel or the available dorms, had to be suitable, comfortable and convenient. Also, contestants have to eat, have adequate practice pianos and studios, and be able to communicate with personnel affiliated with the competition at all times. Add up all the above, and you have a workload that begins at dawn and does not conclude until midnight. Believe it or not, we loved every minute and cannot wait until the 2004 NYPC.

The actual competition began Monday, June 24, at 9:30 A.M. at the Manhattan School of Music. The previous evening, all the contestants, from all corners of America, arrived at Steinway Hall. We were able to greet each contestant personally as they arrived at the entrance to one of the most imposing and inspiring music houses in the world. The purpose of this opening ceremony was to select the performance order by drawing, acquaint each contestant with the week's format and determine the teams of two for the ensemble round. Each contestant was scheduled to perform in all four rounds of the competition. There was no elimination of contestants by the jury. The preliminary round consisted of a twenty-minute recital of the submitted solo repertoire, with the compositions and performance order determined by the contestant. The semi-final round consisted of a twenty-minute recital of the submitted solo repertoire, not repeating repertoire from the preliminary round, again with the compositions and performance order determined by the contestant. The final round consisted of the first movement of the submitted concerto, with an accompanist, provided by the competition, at the second piano. The ensemble round, featuring one-piano, four-hand performances, closed the competition.

The distinguished jury included Constance Keene, jury chair, Manhattan School of Music; Tong-Il Han, Boston University; Ian Hobson, University of Illinois at Champaign-Urbana; Ada Kopetz-Korf, Columbia University; Abbey Simon, Juilliard School, Moores School of Music, University of Houston; and Harriet Wingreen, Manhattan School of Music and pianist, the New York Philharmonic.

Panelists were Robert Sherman, moderator, writer, teacher and radio personality at WQXR; Margaret Collins, manager, artist and senior booking representative at ICM Artists; Peter B. Goodrich, vice president, worldwide, for concert and artists activities, Steinway & Sons; Constance Keene, concert pianist; Lee Musiker, New York University, Mannes School of Music/The New School; Music Director Tony Bennett; Linda S. Golding, former president, Boosey & Hawkes; Joel Sachs, conductor, pianist, the Juilliard School; and Michael Torke, composer.

Darlene Price, the distinguished spokesperson for Fortune 500 companies presenting their messages to the market via corporate videos, television and radio, served as master of ceremonies during the entire competition.

It is now 7:00 P.M., Friday, June 28, and the final ceremony of The Inaugural NYPC is about to begin. The auditorium is filled, the contestants, the jury, the executive directors of the competition and board members of The Stecher and Horowitz Foundation, as well as dignitaries, all are on stage. The Steinway piano is in place, and the announcements are about to begin. The adrenaline is flowing so fast one can almost feel the platform levitate. Robert Sherman, the well-known commentator of WQXR, New York City's classical radio station, together with Darlene Price, served as master of ceremonies. In his inimitable style, Sherman interviewed the finalists on stage, immediately following the announcements of the winners.

Highlights of the evening consisted of performances by Di Zhu, first-prize winner, performing Danzas Argentinas, by Ginastera; Jonathan Coombs, second-prize winner, performing the fourth movement from the Sonata in B Minor, Op. 26, by Barber; and Soo Yeon Cho and Coombs, one-piano, four-hands first-prize winners, performing Adagio, No. 3, and Allegro, No. 2, Op. 60, by Weber. Prior to their performances, the contestants and audience had no indication who the judges had selected as prize recipients. At the opening ceremony at Steinway Hall, the previous Sunday, all contestants were informed that the winners should be prepared to perform approximately an eight-minute segment of their choice of repertoire at the closing ceremony, immediately upon hearing the names of the prize winners. The audience responded with standing ovations and endless enthusiasm.

Our final message to the twenty-two contestants contained the following: "When you leave the competition to return to your respective homes, we pray that you will carry with you memories that will be with you for a lifetime. You have made new friends. You have been encouraged and you have experienced an atmosphere of nurturing and love. In our eyes you are all winners, and there isn't one contestant who doesn't have something very special.

"It is time to wish you well and to extend a lifelong invitation to call us at any time. You can even reverse the charges, should you need advice or an ear to talk to. That is our mission in life, and we cordially invite you to participate."

As the executive directors of the NYPC, we are prepared to forge ahead with additional concepts that can only enhance the lives of those we embrace in these trying and uncertain times. We are committed to the youth of today, the educators of tomorrow and the leaders of the future.

To learn more about the NYPC, including the results, the prizes, the contestants and the history of The Stecher and Horowitz Foundation, check the website www.nypianocomp.org.

Comments from the Judges

Abba Bogin, screening judge, pianist and conductor

"I must tell you I was unbelievably impressed with what I heard and saw last night! The idea of not eliminating talented kids, encouraging each one of them with scholarship prize and still picking out a few extraordinary ones, is marvelous. I knew when we heard some of the tapes that there was some lovely playing coming up, but at that time it was impossible to get the overall impression that all of you could come to after this past week.

"My congratulations to everyone involved, and especially to the two of you for what should become an ongoing major competition."

Anthony LaMagra, screening judge, director of music and department chair, Manhattanville College 

"The whole concept of the event and the manner in which you carried it out was thoroughly first class and truly unique in the history of piano competitions. I am proud to have been a part of it."

Tong-Il Han, judge

"It was a pleasure for me to participate in The Inaugural New York Piano Competition for young pianists, all of whom are in their formative stages of their lives. The standard was very high, and it was a joy to witness the progress of each contestant as the competition progressed. It made me smile with joy and satisfaction. Thank you for inviting me to participate in your inaugural season, and I want to congratulate you for holding the most successful competition for young people."

Constance Keene, jury chair

"This is one of the finest competitions I've ever served on, and I've been on many. First of all, Mr. Stecher and Mr. Horowitz have had years of experience with young people. I was astounded because I've been on all these other juries, and the contestants are not 14 and 15; they are up to 32 for the most part, and they don't play with this kind of enthusiasm. I think by this time they're so bored, so worried that they might hit a wrong note. That has become the particular, what shall I say, `bugaboo' of the people who go into it professionally, because you know they hear a recording, and the recording company doesn't want any wrong notes."

Abbey Simon, judge

"With reference to competitions, we can't function very well with them, and we can't function very well without them. And, we're at a critical point, which is why this is rather interesting, because Stecher and Horowitz have tried a new format, and it's working out at this point for everyone concerned. In the first place, the contestants really have a great opportunity to play and show their whiz, because we don't eliminate anybody, which is a novel idea. It's a little scary at first, but we're listening to twenty-two piano concertos, and, nevertheless, it's, I think, up to this point very successful. One day you say, `I wish we could eliminate this one,' but we can't eliminate, and then you hear them the second day, and it's a whole different story. They play much better, more relaxed, and they're not under the pressure of opening night. In any competition, the first round is a life and death struggle, but they're lucky here because they come back for three rounds.

"I am always listening. I'm sure the other members of the jury and juries all over the world just want to be touched. Whether it's a virtuoso attack at the piano, or whether it is a poetic point, we love to find someone who has a personality."

Robert Sherman, moderator

"The competition was so well organized. The kids [were] so great and the results so satisfying that you both should be totally thrilled (not to mention exhausted). I've been a judge at several `ordinary' competitions and have never seen such warm, happy connections amongst the players, nor indeed such open contentment expressed by all the jury members."

Peter Goodrich, Steinway & Sons

"I've attended many competitions throughout the country, and the level of ability and artistic achievement is really extraordinarily high. I don't know how Stecher and Horowitz have done it, but they have assembled a fantastic group of pianists from all over the country. What we are hearing here is first rate in every sense."

Elsa Jean Davidson, dean of students, Manhattan School of Music

"It is a unique competition, and I think it has been incredibly well thought out. It's a whole week of experiences for all twenty-two contestants on an equal basis, and they are all out there trying to do their best. I like the idea of no elimination, something have not seen before. This is total emersion in their art. I am just amazed at the level of expertise. I find that very, very exciting. They're technically wonderful. There's some wonderful musical expression that is so impressive."

Comments from Contestants

Jennifer Chu, 17, New City, New York 

"This is the first competition I've participated in of this magnitude, and I'm really thankful for the experience. All the coordinators [sic] have been great, helpful and super friendly, and it really made me feel more at ease. Also, the entire competition was very well planned and ran smoothly. I thought the idea of the seminars was great. Overall, I had a good experience here and enjoyed myself as much as one can at a competition. It might have been nice if there were some non-musical activity planned, or just some time to set aside for the contestants to get together and socialize and get to know each other a little."

Adam Golka, 15, Katy, Texas 

"Thank you for convincing me to take part in The Inaugural New York Piano Competition. Whether on stage or off stage, I enjoyed every minute of it. Honestly, I don't remember having such a great experience from any competition, regardless of results. Not only did I make friends with so many of my fellow contestants, I also felt tremendous warmth and support, not only from you, but from other members of The Stecher and Horowitz Foundation, such as Mark Horowitz and Nick Maiorino. A great experience for me. It is very hard to think of something critical, for so far my memories are only positive. Many elements made it exceptionally exciting and professional. I loved the duets. Once again, thank you, and I look forward to hearing about the second New York Piano Competition."

Rebecca Helm, 17, Louisville, Kentucky 

"I cannot begin to tell you how fortunate I feel to have been part of The Inaugural New York Piano Competition. I have never been treated so special as a contestant in a competition. From the moment I stepped into Steinway Hall for the opening ceremonies, I was taken [a]back by the overwhelming sense of professionalism and congeniality exhibited by you, your staff and the other contestants. Thanks to you, my whole week in New York felt like I was living in a dream world. Thank you for providing such a wonderful competition with such magical atmosphere. It will be an experience I will never forget!"

Esther Keel, 16, Torrance, California

"The competition was very well organized. I liked the fact that there was no elimination. Everything from the selection process to the computerized judging system was very fair. The accompanists were very good. The location of the competition was ideal in that it was a preview for those of us who had not gotten a glimpse of the music conservatory lifestyle. Especially convenient was the availability of the practice rooms."

Samuel Oram, 17, Arlington, Massachusetts 

"The social element of this competition is a startling contrast from the usual. Because we all stayed in a dorm, we [could] eat and hang out together. I loved this aspect of the competition. I also appreciate that there was no shortage of practice pianos and that they were right near the bedrooms. I liked the four-hand requirements. The competition was a wonderful experience. The people were all very nice and friendly. I hope to see you all again."

Alexander Rabin, 17, Wayland, Massachusetts 

"So far, I have really enjoyed the competition. Although I have not attended any other event like this, everything here seemed exceptionally well organized and thought out. I really like the idea of an ensemble round. I feel like I have gained a lot from this wonderful experience, and I feel honored to have met so many incredibly gifted musicians. I forgot to mention that my accompanist was superb and she gave me so much advice, which really helped my performance."

Jonathan Ware, 18, Allen, Texas 

"Thank you for such an inspiring week. The competition was such a positive experience because it was so well organized and because everyone involved--volunteers, sponsors--was excited about the event. I look forward to hearing about the future endeavors of The Stecher and Horowitz Foundation.

"You did such an incredible job organizing the competition. The schedules were complex and full, but also very easy to read. Thank you for always having studios available to practice in (almost always with air conditioning). I felt very welcomed--and I felt that my arrival was eagerly anticipated. Thanks for being so warm and friendly. Thank you for including the ensemble round. As a pianist I know the loneliness of the practice room--it was a pleasure to share it with someone for several hours this past week. Please keep up the seminars. Thank you so much for the wonderful week in New York. Please let me know of the future Stecher and Horowitz Competitions."

Amy Yang, 18, Katy, Texas

"What a great experience! Thank you for a rewarding educational, didactic, competitive memorable week! I learned many things. I especially enjoyed the seminars. The duets were exhilarating and fun. I think everything was fine (the repertoire requirements, no elimination, duet, media). Also, this was so well arranged and organized (so much more than other `un-inaugural' competitions). Congratulations on such a success!"

Di Zhu, 18, Rochester, New York 

"I would like to thank you for the wonderful experience I had in New York. This competition was incredibly well organized. It made everything so easy. Like Jonathan Coombs said, all we had to do was play our hearts out. It was such a fun week! I met many wonderful people, and we became very good friends. Also, I enjoyed the educational seminars and master classes. I only wish the week was longer. My family and friends are thrilled. I have told them all about the competition and what a splendid experience it was. Once again, thank you so much for the unforgettable experience."

Melvin Stecher and Norman Horowitz comprise the duo-piano team Stecher and Horowitz. Since 1951, Stecher and Horowitz have presented concerts worldwide to critical acclaim. For thirty-nine years, they headed The Stecher and Horowitz School for the Arts and have served as educational consultants to G. Schirmer.