Kreisler Competition 2005

October 5, 2005 at 05:12 AM · Does anybody know who won the Kreisler competition?

I saw a list of the 6 finalists somewhere on a japanese website, but that's all I could understand!!

The finalists were Fanny Clamagirand,Andreas Janke,Antal Szalai, Leticia Munoz, Kyoko Yonemoto and Lucia Madziar!

Replies (57)

October 5, 2005 at 07:33 AM · yes i know. i've been to the final:

Fanny Clamagirand won the 1rst prize. Letizia Moreno the 2ond and i forgot her name,the girl who played Paganini at Queen Elizabeth won the 3rd. Antal won the 4th, Andreas Janke the 5th and some Polish girl the 6th.

i was happy that Fanny won,she desterved it. i mean from the final she was definitely the best ( from my poinst of view). ok i mean her Sibelius wasnt perfect perfect but it was really BIG if you know what i mean :)))

Letizia played Schostakovich 1rst. it was nice,but nothing to do with Schostokovich. but it was "made". she gave everything, really,but that wasnt enought. what to say about the Japanease girl?? perfect, perfect, perfect :) and verry verry nice sound. but it was a little bit boring, i think.

just to say, Sasha Sitkovetsky didnt come to the final,wich a thought was really horrible. i heard him a semi-final and i loved him. but well....thats life !! :)did anyone from here went to the final ?

October 5, 2005 at 05:10 PM · no unfortunatelly, I could not be there to see the competition but I kept in close touch with some of the participants throughout. The girl who came last (the polish violinist) I have heard in the past. She won the Huml Competition in Zagreb. There I think something strange went on. She played her 2nd round really well. In particular I must outline the d-minor Brahms sonata that was played very convinsingly indeed and than much to my surprise she played a very average Brahms concerto in the final which was not memorable in any way except for it being a quarter tone sharp throughout. So I assume the girl can play on ocasions and there is something about her playing that makes the jury vote in her favour. of course it is all a dirty business... Antal also played in zagreb and I actually had the misfortune to play directly after him in both rounds that we did, though much to my astonishment he did not get through (neither did I but I was much less surprised by that). Antal pulled off quite a remarkable Mozart in the QE copmetition earlier this year.He is a trully marvelous violinist with a natural way of bowing and almost every aspect of his violin technique is admirable. Fanny I know only very slightly but she is good all rounder from what I hear. Leti... well... it is a matter of being there and seeing it I think... I heard her once some years ago when she came to the menuhin school in London to do chamber music as part of the Bron showcase masterclass. And i was swept away by her brightness and energetic stage presence. All in all this seems to have been a strong wettbewerb. None of my friends who I was supporting from a distance got through unfortunatelly. Some were knocked out of the first (Hayashi, Enomoto), some from second (Savitskaya, Sitkovetsky, Po-An Lin). But without being there and hearing it it would be silly to speculate. I hope everyone got a useful experience from the competition in the end. D

October 5, 2005 at 06:44 PM · i have to say that i do not think that the competition was so strong. i'm sorry, but Sasha plays 100000 times better then this Polish girl or Andreas!!! Fanny and the Japanese girl were shurely the best in the final, but tht Antal didnt make it is absurd. he is a great musician...

anyway it was interessting and i have verry big respect from Pavel Vernikov. he is really nice, i like him verry much,and he is a great teacher :)

so...anyone other who thinks something about Kreisler competition?

October 5, 2005 at 07:08 PM · Is there some kind of conspiracy against Antal?

He got robbed at QE... I can understand giving Sergei the gold, but Antal not even placing is a bit of a joke to me.

October 5, 2005 at 08:30 PM · Pieter, I was thinking of it too. Antal deserved to be amongst greatest, indeed. It was strange that he was underrated. It is not the only my opinion...

October 5, 2005 at 09:19 PM · I was watching my Q.E. saves of him and Jaffee and Alena Baeva just now. He is great to watch. He reminds me so much of Oliver Hardy with a violin. It even looks like he's doing takes sometimes. Jaffee was more interesting to me musically, playing basically the same piece. Baeva, her bow hold and her arm, they somehow look like the sound she produces. Students could learn a lot about tone by soaking in that impression, I think. Plus I can see the wheels spinning in her head as she plays. All in all, she's my fave.

October 5, 2005 at 10:32 PM · Baeva was amazing, like all the others there. I'm still not over Antal not making it. In my opinion, he may very well become one of the great violinists of the 20th century.

October 6, 2005 at 07:30 AM · i'm on the same opinion as all you guys !!! Antal is amazing,he's justsuch a great musician...

why do they always keep him away?? in my opinion,its because he's too good. he could be a verry good concurent. Sergey Deserved definitely the first prize but we actually speak now about Kreisler,ad THERE,he should have come at least to the 3 firsts. i've heard he didnt play that well,though. they just took the chance to cut him of... pity... :(

but i'm happy that Fanny won :)

October 6, 2005 at 08:18 AM · I like Fanny too. Was Alena in the Kreisler? When I see her play I can feel her bow arm, just like if someone hit their thumb with a hammer, I could feel it. Only this is more pleasant :)

October 6, 2005 at 08:31 AM · no Jim,Alena didnt come to Kreisler. pity for her !!!and for us too :) i thought she would come.

but it was a nice competition anyway

October 6, 2005 at 06:17 PM · Were there many violinists for the 1st round?And what about Dalibor Karvay? Were there other french people except Fanny? I already heard the Polish girl a couple of years ago in a competition but wasn't that impressed..I just always find it strange that all the members of the jury are not present for the 1st round!How can they judge really a candidate if they haven't heard everything??

October 6, 2005 at 08:40 PM · Out of curiosity, is there a list of all the participants who arrived in Vienna? Could someone post a link?

October 7, 2005 at 02:37 AM · Carla, any news from Austria to report? :)

October 7, 2005 at 04:30 AM · This competition certainly belongs to the stranger ones. The press and other media coverage is close to none; not even major Vienna newspapers reported the names of the finalists and up till now no winners were published. The competition homepage shows the winners 5 years ago (6 days after the finals!).

As a rule: less publicity means less pressure onto the jury to be fair and objective. And for the winners: It's pretty useless to win a prize when you do not get proper publicity. It's the sole responsibility of the competition people to get publicity (unless they have other goals than helping young musicians). The only reason why a violinist should even consider to participate: to gather more stage experience without actually waiting for results.

It's a shame how jury members and organizers abuse dreams and ambitions of young musicians for selfish reasons. In any case the "results" are barely worth discussions under such setup.

FMF

October 7, 2005 at 07:31 AM · hello everyone. there was i think only 2 other french people apart from Fanny.

in the 1rst round 86 people were registrated but i think about 70 came. in the semi final ther is 18 people and 6 come to the piano final. and then 3,as you know :)

Dalibor didnt do Kreisler.

i only found that link:

http://www.fritz-kreisler.music.at/ablauf_e.html

but the winners are still the old ones(from 2000)

so i dont know. but the schedule is the right one :)

October 7, 2005 at 09:23 AM · do you mean that only 3 violinists were able to play with orchestra at the end?Did Antal, Andreas and Lucja only played with piano for the final round? Strange...

October 7, 2005 at 10:23 AM · exactly Melanie. the 6 first only play with piano. thats sooo horrible !!! they have to play concertos with piano. only the 3 last can play with Orchestra. Antal,Andreas and Lucia played with piano in the Gala-Finale...when the Jury went outside to deliberate. i think its really stupid...

a little thing: when Letizia played her final with piano... she moves a lot when she plays, you know.... the heal from her shoe broke !!! i think thats soo funny. :)) but not for her i gess... ;)

October 15, 2005 at 05:30 AM · Unfortunally,guys,this competition,as well as all the others nowdays-is really lost creteria for something new and personal.How can it be?Jury members have students to participate,so they are "killing" all possible "targets",like good expierenced artists,musicians,etc...Thats why Antal was out from the 3rd round and many others from the 2nd and 1st.Which is usually not very well attended,like in Kreisler Competition.

Doesnt it look funny-that 1st and the 2nd prizewinners are the students of the same teacher who was in the jury this time,and his student won the previos one also,and he was in a jury than..?

Nothing to tell about the players and their teacher,its a great teacher and they are good players both,but I think competitions should stop inviting teachers in a jury,who has students in the participants list...

It happens in Lipizer,noone has his student if he is judging,in piano its Rubinstein Competition,so there are examples....I agree with MF,Kreisler's publicity is bad,site is not up to date,no news no winners there...Too bad..

October 15, 2005 at 06:32 AM · The polish girl who won the 6th prize is supposed to be a student of Silvia Marcovici who was also in the jury...

October 15, 2005 at 09:16 AM · yeah i think so... but she's not really great... :-/ Fanny was the best one from the 3 girls... form my point of vuew. has anyone been there,at the competition?

October 15, 2005 at 05:43 PM · Also 2 students of Dora schwarzberg was in the competition,one made it to the 2nd,but was not so good.You see,even if this students are good enouth to make it throught but its impossible for the others because the teachers are crushing the good ones from the begining..Fanny is a good violinist,no discussion,I heard her in Thibaud competition 1999,she was 15,played so beautiful,but stupied rules said to play Schubert Sonatina by memory,and she had a problem,as well as 16 others played 2nd round there,memory slips...But just to equalize the chances,jury members should not be able to bring their own students to the competition.

October 15, 2005 at 06:52 PM · When I first learned of this I turned red.

a jurist and entrant in bed!

If it doesn't pass litmus

remember anonymous

"If you can't beat them join them," he said.

October 16, 2005 at 10:35 AM · Yes, Fanny is a great violinist!I heard her play several times.Once she was invited by V.Spivakov at his festival and she played Saint-Saens Caprice Valse...She was like 12-13 years old I guess and it was incredible! Sergey, wasn't it with the Bach that she had the memory slips?Or maybe it was during the last Thibaut comp.Someone told me about it, and said she even had to run off of stage to take her notes...Who were the students from D.Schwarzberg?

October 22, 2005 at 05:29 AM · Hi everyone: I wanted to share these comments that were e-mailed to me from heinz sichrovsky:

dear friends,

allow some remarks about kreisler competition, vienna. it was my pleasure

to be member of the final jury (last evening only) and it is not correct

that the winner has no benefit besides 12.000 Euro. indeed, the medial

distribution of the result was not gorgeous. but: one of my jury

colleagues was clemens hellsberg, chairman of vienna philharmonic. the

first prize includes concerts with vienna philharmonic and salzburg

festival (in the case of adequate quality) and, at any rate, with

mozarteum orchestra salzburg and bruckner festival linz. reviews and

articles about the competition appeared in "kronen zeitung" (the largest

austrian newspaper) and weekly magazine NEWS (I am chief editor), both

rather influental. so

mlle. clamagariand, who had especially convinced my friend hellsberg and

me, will appear with vienna philharmonic, which means more international

attention than a note in a newspaper. after the final I informed several

friends and acquaintances of mine about the outstanding winner by phone,

mail and sms, including the vice president of DEUTSCHE GRAMMOPHON, the

owner of NAXOS, president, general manager and upcoming music direcor of

salzburg festival, the president of bregenz festival, the chairman of

haydn-festival, finally franz welser-möst, nikolaus harnoncourt and

several agents. ms. clamagirand also will be playing on dec. 4th brahms

sonata nr. 1 in my monthly talk show at renowned VIENNA KONZERTHAUS with

christa ludwig, ioan holender (general manager of vienna state opera) and

gérard mortier (general manager of paris opera) as talk guests . most of

the festival managers mentioned above will listen. so: medial distribution

is not the only criterion and being member of a jury includes some

responsibility for the awarded people.

best, hs.

October 22, 2005 at 08:36 AM · Interesting way Mr Sichrovsky tries to help outstanding talents through such competition; he participates as jury member at the last day of the finals only. So he has no personal idea whatsover, how the later winner compared to other participants. But he recommends the winner to all "high places"? So his perception of responsibility seems to be very special. And he has a high chance to become part of manipulation as he needs to trust secondary information here. On top of that Mr Sichrovsky wasn't obviously impressed enough to spell the winner's name correctly: it's Clamagirand.

Mr Sichrovsky's indirect contribution here is a another hint why one should stay away from such event.

And I am not trying to argue how the winner really compares to other participants and winners of other competitions here. Forum members who followed the Queen Elisabeth competition more closely might know what I mean.

BTW the "Kronenzeitung" has certainly the lowest market share of all Austrian papers among classic music lovers. And certainly no market share at all among international classic fans. The media coverage was really irrelevant.

As long as Fritz Kreisler competition representatives defend their loose way of handling young musicians' lives instead of at least promising improvement for the next time: forget this "competition".

FMF

October 22, 2005 at 01:30 PM · Hello,

Laura - Thank you for sharing that with us. That is very conscientious of you.

I find it interesting (with a touch of sadness...) that a jury member felt compelled to come and defend himself to the site. A lot goes into the making of a competition, from all perspectives: jury, contestants, audience. And none of the roles are easy ones (except perhaps for the audience - those that have no one to support and stress out for there).

Personally, I find that the severe criticism from members of this site to be a little odd at times. There are many rewards from competitions that are not financial, medial, or otherwise. A lot of hard work goes into the making of a competition from all sides. Why not have a little understanding. The prizes that Herr Sichrovsky mentions are certainly great ones indeed. The Vienna Philharmonic and the Salzburg Festival are two of the greatest musical institutions in the world, and the sheer opportunity to work with either is not something that I would undermine - there is so much experience there to make a lasting impact on someone with the sensitivity to appreciate it.

Strangely puzzled,

Christian

October 22, 2005 at 07:55 PM · Heinz had one more thing to add:

I am no representative of kreisler competition, I

was only invited for the last day and I know what I hear since 30 years serving as a music critic. so I try to help in my way and in my circle.

best, hs

October 22, 2005 at 09:07 PM · "I know what I hear" clearly, but how does one know what he does not hear? Even after serving 50 years as critic? If somebody gets invited for the last day only and is not sure if he knows what he did not hear, one has always the option to refuse such invitation politely.

One of the key elements for a fair jury is independence through own, personal judgement. Such independence is gone when one has to rely upon other jurors' judgements during former days and rounds.

How about turning the situation around and letting the participants sending their people to the competition telling the jury how these participants play rather than having these participants playing personally in front of the jury? Sounds funny, doesn't it? But for members of the Fritz Kreisler jury it seems acceptable.

Being a juror does not mean a thing, as long as this juror does not show his/her seriousness towards the participants, all of them. Instead of feeling honored to be invited for just the very final day. Competitions are not meant for honoring jurors, I hope.

Considering how harsh jurors operate (example: with Antal Szalai) isn't it time to talk with them about their qualities? Their assumed, available and missing qualities?

FMF

October 23, 2005 at 03:12 PM · Hi,

Frank-Michael - I was not in Vienna. I don't know what happened to Szalai for example. But, I am not quite getting what you are disgruntled about. Did something dramatic happen there? What qualities do you think the jury members are lacking or in need of?

Cheers!

October 23, 2005 at 04:39 PM · Christian, I am a professional journalist following amongst others the classical music space. I have been monitoring competitions since 1972 (which is more than 30 years now ;-). And I have access to all kinds of online press libraries. And naturally to all kinds of forums now etc.

The Fritz Kreisler competition "case" developed as I found from this forum how difficult it was to find intermediate and final results. Did some research, interviewed a few people in Vienna and figured that noone inside the competition staff felt really responsible for getting publicity for the participants there. From other sources I gathered major objections against the jury in terms which players had to drop out. The final kick came when I realized some jurors appeared the very last day only. I was not concerned at all about Mr Sichrovsky.

He just happened to pop in his commentary where we all learned how great an expert he is, so there is no problem with him (quite a figure in the Austrian media field) not having listened to other participants than the left over ones. So he sort of "trusts" his predecessing jurors having made the right decision.

But the worst thing that can happen during such a competition is the building of factions with factions leaders inside the jury. "I support your candidate, so you support mine." Any candidate who is unfortunate enough not to have a pre-competition inroad into such faction (we talk about about a package of several jurors now) is at disadvantage then. Seems that Szallai was such a case.

A real life example from the German ARD competition a couple of weeks ago: One participant knew that no juror had ever heard about her before attended paid master classes with four of the jurors to become "part of the gang". And was unfortunate that one of these jurors cancelled last minute. Plus she could pretty confused being confronted with four different ways of playing a Bach fugue. So she played confused etc...

Now one could say it was her fault. In reality virtually all of the participants who could afford the fees and travel had "master classes" with jurors before. (Question comes up, why competition boards pay jurors after they made the money on the participants already?). A similiar situation you will find at other competitions. Bluntly: competitions get repositioned as business generators for juror-teachers.

My theory goes like this: only if every juror attends all performances at all rounds and publicity makes all these performances really public, factions will get more careful in pursuing their very own interests. Therefore I consider it as a matter of decency not to support a one-day (or even a few-hours jury). And not to be proud of comrades inside the jury one trusts.

FMF

October 23, 2005 at 04:21 PM · Hello,

Frank-Michael - thank you very much for your honest answer. Gives me a lot to think about.

Thanks again and Cheers!

October 23, 2005 at 04:54 PM · My pleasure, Christian!

One more thing to add: Yes, it seems quite an award to play with the Vienna Philharmonics. But now the music gets "in the way". Typically such award comes with little or no rehearsals but the dress one (orchestra being too expensive ...) I know about inofficial competitions between top orchestras in London and other places who needs least rehearsals (what a strange perspective on music). The young prize winner has to obey the minimum rehearsal law, a disadvantage multiplied by the relative inexperience of the young soloist.

Under such circumstances generally the young musician's performance will suffer in quality, his/her stage fright might go through the roof.

And now the prize winner can only hope that no reviewers will attend the concert. So the circle closes and publicity is not anymore in the interest of the participants. This is no theory, I have observed such "reduced" performances more than once and with top orchestras.

FMF

October 23, 2005 at 08:40 PM · It's apparently about getting a career going. What are the contestants typically doing already? Do they have solo careers that they want to improve? Are they orchestra members? Professional students?

Also, are there cutoff ages for auditions in German orchestras? Age discrimination in the workplace is illegal in the U.S.

October 25, 2005 at 10:29 PM · Well well well,Frank -Michael Fischer,finally,someone serios is talking about serios competition crisis(isnt it a crisis,when all contests are corupted and managements ,seeing this never take the winners seriosly)

Just to add another thing in the competition procedure-dont let the jurors to bring their students to the competitions.

another thing ,

Fanny ,the winner ,studying with Yitzchak Rashkovsky, thought I got different infoormation..

October 26, 2005 at 04:20 AM · Sergey here are some official details on the winner:

http://www.royalphilharmonicsociety.org.uk/?page=youngArtists/biogs/clamagirand.html

So you can see Fanny took lessons e.g. by the president! of this competition as well as by the jury member Vernikov. And this is just information from 2004. She is certainly a fine violinist and it's certainly not her fault, rather her smartness to meet jury members before the competition. But how many fine violinists had no chance to do the same and still believed they had a real chance at the very competition?

Doesn't it prove a point? And in case someone needs more evidence: according to her bio she took no lessons from any of the Queen Elisabeth Competition jurors and did not make it into the finals there.

To Jim: yes, I think to have clear laws against age discrimination is very desirable. However, I do not think this has led to a higher average age in US orchestras. But I might be wrong here. If not: what's the point of such law? Or how about the share of Hispanic origin players in orchestras? Is it lower than in the US population? Now this discussion is a bit off topic. Maybe someone will start a new discussion on it (in Spanish, please :-) )

FMF

October 26, 2005 at 06:32 AM · Since you asked what the point is, it's to provide equal opportunity. That's different from establishing a quota, and doesn't necessarily mean the status quo changes. Opportunity.

What's the reason for age discrimination in your orchestras if it exists? To assure that young people have a way in?

October 26, 2005 at 08:53 AM · Serezha, is the list of jury members on the website inaccurate? I don't see Rashkovsky's name there.

How are you, by the way? Any chance of running into you next week in London?

October 26, 2005 at 09:22 AM · I was at the competition as well (final round with six players, but not the grand finale). As a baroque violinist who's been out of the modern loop for quite a while, I found the whole thing rather confusing and over-the-top ... can't really give a "qualified" opinion (only, perhaps, that I found the stage performance of Laetitia Munoz-Moreno to be a bit vulgar ;-).

But one thing just occurred to me, from the historically-informed-performance world: there's the Bonporti competition in Rovereto (one of the big competitions for baroque violinists, whom they hear in solo programs every two years) ... the competition's founder and jury president is Chiara Banchini, an important teacher of baroque violin. There's a rule that no competitor may have had lessons with her during the last two years. Now of course there are a lot of things that this rule _doesn't_ prevent, and I'm not sure whether Banchini actually even votes, but I think that it's certainly a step (at least symbolically) in the right direction ... are there any rules like this at the "big" modern violin competitions?

Aren't there enough "uninterested experts" out there to staff a jury?!? (I concede to you that the question perhaps completely misses the point of such competitions ;-)

October 28, 2005 at 07:40 AM · FM - I do't see your point at all.

Which of the jury members in QE did Sergey study with? Ivanov is still a student of Dumay, Andreas Janke is a student of Ozim, and Keisuke Okazaki has taken lessons with him.

So in QE I just can't agree with you.

I havn't followed Kreisler as well as you have so for now I keep silent about that :)

October 30, 2005 at 04:54 PM · Clearly there are other ways than mingling with jury members to win a competition. Let's sketch a few:

1. You are so outstanding that noone can ignore you without damaging his/her own reputation to a substantial degree. It really happens and happened. I was witness of such a case.

2. The competition management does not allow for mingling, contacts, upfront master classes etc. and for sure will only invite jurors who follow this policy. So you will get jurors who all judge in favor of the music not for their personal benefit. Personally I have not found such situation. Most likely my fault.

3. The contestant has got a recording contract with a major (in terms of marketing) label already; a first prize would sell more disks. And we have got jury members who either like to have their own contracts, or have them already and feel or are obliged or need to get their students a similar contract (so they build their "influential" image and can charge more for the hour). Simple calculation: how much and where does a label need to "invest" to make sure their artist gets proper first prize promotion to sell more disks?

There are more ways, but I am already feeling like writing a book about classic career management here ;-)

FMF

October 31, 2005 at 08:13 AM · While I see your point I can't quite agree about you generally. In specific cases I know that you are correct.

What I do like about you is your honesty and your lovely way to write what you thinks no matter what other thinks, so would be the first one to buy that book! :)

October 31, 2005 at 12:15 PM · Frank-Michael: that was an excellent post! Please keep sharing your views. They are very enlightening.

Cheers!

October 31, 2005 at 02:16 PM · Thanks a lot, I appreciate your support. And ofcourse I know there are competitions and times where things go naturally and smoothly. But how often noone in the audience understands the results? At the last ARD competition in my home town we, a team of four (the leading string reviewer in Germany, an excellent violin teacher, the conductor of the finals and myself as 100% guaranteed non-musician), undertook a little experiment. Without discussing the performances we took - independently on each other - a wild guess who will get which prize. Very interesting: all four of us came to the exactly same result. Which was NOT the result the jury ended up with. And none of the four of us had any personal interest in any of the participants. Question: What could be the reason why the jurors decided differently? We might never know, but we know for sure, there must be reasons.

And for Mattias: I am not always lucky in it, but I try to avoid writing what I think. Rather my more or less correct description of the reality. I am trying to avoid discussing my thoughts, which were much too light, wouldn't they reflect some sort of reality. So let's discuss reality! :-)

FMF

October 31, 2005 at 03:59 PM · Hey, just to be curious, who did you all four thought would win the ARD competition?

October 31, 2005 at 10:31 PM · Unfortunately I have no autorization from two of the four to publish our (and hence their) ranking. And I am not seeking such agreement. In addition (for obvious reasons) I try to stay away from any public judgements about actual performances except my own ones: I do not perform at all. ;-)

Another exception from my rule: I am ready to discuss the performance of managers, presenters, jurors, label marketeers and certain types of teachers.

FMF

November 4, 2005 at 06:10 AM · I find the discussions about International Violin Competitions boring.

We all know, how it works, and managers and reecord producers-even conductors do not take them seriously anymore(best example: Eric Schumann, who was kicked out of the second round at the Tschaikowski, and is since enjoying concerts around the world with Conductor Christoph Eschenbach!).

Wake up people-get a life!

Don't try to please a bunch of psychopaths, who didn''t make it themselves.

How many young lives have been ruined and virtually destroyed (I know of some suicides) by these crazy, selfrightous "judges", half of them, I think, have serious psychological issues and are morons. It's time to name them:

Igor Oistrakh (the worst), Sylvia Rosenberg (a real moron!)

Tibor Varga (thanks god, he is dead), Jaime Laredo, Tuomas Haapanen,(let Finlaand always win-hooray) Franco Fisch, Stefan Gheorghiu (let Romaania always win-yeah) . i don't even want to start to go into Zakhar Bron, and his methods to get a student of his through.

Very few, such as Werner Scholz, Ruggiero Ricci, to a certain degree the late Miss DeLay tried somehow to be fair, but even they are sometimes blind on one eye, if they have a student in the contest.The only two people, who i think are absolutely immune against the "Violin Mafia", are the greatest Violin/Viola teachers in Chicago Roland and Almita Vamos, whose students have won Tschaikowski, Bach, Menuhin and many more competitions. Maybe that is, why they never are invited into Juries??? (wonder, wonder).

Don't give these jury people business! Take charge of your life-like a lot of great Pop/Rock/Jazz Musicians, who have built LONG LASTING careers without competitions.

It's CREATIVITY, NOT PERFECTION!

Oh my gosh, I am going to get in trouble for this one:-)

Here is a list of the most corrupt Violin Competitions:

Brescia

Paganini

Britten (London)

Thibaud

Kreisler

Tschaikowski

Brussels

Did I forget any?

The better ones are:

Hannnover, Indianapolis, New Zealand, Enescu (although that one is debatable), Schoental.

As I said before, get a life, don't worry too much about these contests, they are not as important as they used to be!

November 10, 2005 at 08:25 AM · I don't care much about competitions, but many of the judges that you mentions are personal friends and aquaintents of me and I know them well enough to know if they are corrupted or not.

Do you?

November 14, 2005 at 08:12 AM · yes, I do.

Many of the "good ones" I mentioned like DeLay, Vamos and Scholz , Gawriloff, and others, I have known for decades.

Don't tell me, that this moron Sylvia Rosenberg is any good!

November 14, 2005 at 06:45 PM · Mauricio Fuks is one of the most corrupted members of the jury ever...he is new in the "club", but he's the best...

November 15, 2005 at 07:33 AM · yes, Mauricio is a "scumb bag"!

More power to this outspoken blog!!!

Don't be afraid!!!

There is enough people I know, who have killed themselves because of these morons! SPEAK UP!!!

CHEERS!

November 15, 2005 at 07:39 AM · cristina,

how much i agree with you!!!

Knowing, what a great job you did in Bucharest, i can only assure you, that Mauricio is an ABSOLUTE IDIOT!!!

Let's start a HATE PAGE!

November 15, 2005 at 09:52 AM · hey guys,i dont have anything about telling your opinions on violinist.com,but think that you should have a minimum of respect for teachers... i dont know anything about Mauricio, i never worked with him and i have no clue what sort of guy he is,but still,even if he's not an angel, i'm not gonna say out loud this sort of things, thinking that some of his students might see it and they'd be sad...

sorry to disturb your "hate page" but just thought i might also say something:)

November 15, 2005 at 07:31 PM · I think we should discuss "minimum respect" for students as well, here.

A now well known and established violinist, who had frequently played for Fuks, approached the jerk in 1998 in Indianapolis, where he was a contestant at the prestigous International Violin Competition of Indianapolis.

Mauricio did not specify, how much he would charge for a private lesson, and the young man started to play for him. After 30 minutes of lesson time at his house, he said, he had to leave, but the he needs to charge him, which the young violinist expected, anyhow. The violinist, whom I happen to know, handed $100 in cash, which is many times considered standard for a one hour lesson with a professor. But Mauricio said: "Oh no, sweetie, my fee is $250". When the student, who happened to be from Europe, responded, that he did not have any more money on him, Mauricio responded: " Oh, no problem, I drive you to an ATM, down the street, so that you can get the rest."

From a reliable source I know, that even his former teacher DeLay didn't like him very much, and it took a lot, to make Miss DeLay not like anyone, as she was the sweetest violin teacher in the world.

So, I think, I have every reason to call Mauricio Fuks a jerk and a scumbag, who is, indeed, full of it!!!Let's talk about RESPECT!

November 15, 2005 at 08:12 PM · Mr. Heitner, even though it might be true, the teacher in question has an excellent reputation that did not come by treating people like garbage. This teacher, and the many others getting slammed here are not on violinist.com to defend themselves, which I don't think is fair.

There are many students here who will be going to study with good teachers in the future, and stuff like this might skew their opinions of certain teachers, based on stories that might not even be true.

November 15, 2005 at 09:42 PM · oh please...i dont want to put my nose at people other's things,but we are getting verry far from the subject: Kreisler Competition-the winners,dont you think? :) lets stop saying bad and unnice things, also because Fuks, as long as i know,w asnt even at Kreisler Competition... ;))

November 16, 2005 at 07:52 AM · Pieter,

I can assure you, I know Prof. Fuks, I know the student. The story IS true.

November 17, 2005 at 06:01 PM · yes, Alexandra is right...we are a little bit far from the subject...:)

This discussion has been archived and is no longer accepting responses.

Facebook Twitter YouTube Instagram Email

Violinist.com is made possible by...

Shar Music
Shar Music

Yamaha Violin Finder
Yamaha Violin Finder

Pirastro Strings
Pirastro Strings

Corilon Violins
Corilon Violins

Warchal Strings
Warchal Strings

Lisus Violins
Lisus Violins

Dimitri Musafia
Dimitri Musafia, Master Maker of Violin and Viola Cases

Gliga Violins
Gliga Violins

Metzler Violin Shop

Bay Fine Strings Violin Shop

Bobelock Cases

Fiddlerman.com

Fiddlershop

Nazareth Gevorkian Violins

Los Angeles Violin Shop

Pluhar Violins

Potter Violins

Pro-Am Strings Ltd

Violin Lab

Violin Pros

Wangbow Violin Bow Workshop

Subscribe