JURORS’ GEMS

Three judges offer up some words of wisdom

GÁBOR TAKÁCS-NAGY Violinist and conductor

I remember Kurtág’s advice to the Takács Quartet before we went to Evian for our first competition in 1977. He said, ‘Boys, never forget that creativity starts where the comfort zone finishes. Please do not fall into this competition trap of being afraid. Dare to be creative.’ We won because we dared to be courageous.

When we talk, we use emotions and colours in our voice. Musicians who play without creativity, who only focus on technique, sound like robots talking to an answering machine. I tell youngsters to go out and talk to people through music, not to think about how they’re being judged.

JAIME LAREDO Violinist and conductor

Having sat on juries, as well as being on the other side as a competitor, I am looking for someone special. They must play the instrument perfectly for a start. That’s part of the job. You need integrity in whatever you do in life. And that applies to the way competition juries go about their business. I think any competition that allows a teacher on the jury to vote for their student cannot be taken seriously. It’s as simple as that. It should not be allowed, period!

BARRY DOUGLAS Pianist and conductor

Music colleges should not push people into competitions for the glory of the college. It’s important that teachers place emphasis on building a wide repertoire and great preparation, in case one of their students wins. If you go into a competition with just two concertos and one recital programme to your name, you can’t survive as a winner. Those who win a big competition will be so busy in the first few years that they won’t have time to learn new works.

Competitions give a feel over three or four rounds of who might have what it takes to be a creative and original artist.