Litmus Test in Music: Politics and Art in the Centennial Edition of the International Chopin Piano Competition

• In Event: Politics, Patrons, and Performance: Music, Identity, and Cultural Authority from the Steppe to the Stage

Abstract

The quinquennial International Chopin Piano Competition will be held from October 2-23, 2025, concluding by the start of the ASEEES virtual convention. Russian music has been banned in Poland for much of the last three years, and for the 2025 Chopin Competition, Russian contestants are only allowed to participate if they compete under a neutral flag and sign a statement condemning Russia’s invasion of Ukraine. Chopin Competition seems to take a more balanced approach; while it does not outright exclude Russian contestants (which was the case with Dublin and Honens competitions), it allows them to participate provided they pass an ideological litmus test.

Eighteen competitions have been held so far, and a third of them have been won by Russian/Soviet musicians. Jury members have also regularly consisted of Russian musicians, though in recent years there has been a downward trend. Drawing upon press releases, published interviews and articles, and social media posts, I will examine how contestants from Russia and Belarus – those allowed to compete – are treated by the organizing committee as well as the general public. Contrary to what “competition” might suggest, a musical contest often forges contacts and friendships; the inaugural Chopin Competition in 1927, won by Russian pianist Lev Oborin, is a clear example of music’s potential to transcend political tensions and historical hostilities. I will address the question whether the Chopin Competition allows for a temporary truce between adversaries, or is it yet another forum for international power struggles?

Author

• Tony H Lin, Boston College