When competitions aren’t fair. . .

[Saul Davis Zlatkovski]

Some people place so much importance on appearances, they never look beneath the surface. Unfortunately, that is also the kind of playing one often finds in competitions. I think one of the problems is having to play imposed repertoire. It will be most interesting to see how competitions that don’t impose compare to those who do over time.
And as for losing the competition, the other finalist and myself have bonded and had a productive relationship ever since!

[Saul Davis Zlatkovski]

I’m not knocking them completely. For performing and preparation experience, competitions can be invaluable, particularly those at lower levels. My peeve is when they are solely age-based and don’t take into account that people start playing the harp at different ages.

[carl-swanson]

Competitions of any kind- single instrument(i.e. harp competitions, violin competitions, etc.) multiple instrument competitions(i.e. concerto competitions where several types of instruments compete for the same prize) and orchestra auditions-should be completely held behind a screen, right through the final stage. The jury should at no point see any contestant until a winner is announced. Competitions held in this way will be as close to fair as one can get.

[Saul Davis Zlatkovski]

I disagree. It’s not an audition. How the person performs is part of their performance. What makes it fair is how votes are calculated and if judges are allowed to discuss contestants. There are many other factors, too, including who is selected to compete in the first place, among other things known only to organizers. The cost of competing is sure to eliminate many deserving artists.

[Author]

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