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In the Hamamatsu Spirit

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Competitions

Pianist and Chairwoman Noriko Ogawa looks back at six years at the Hamamatsu International Piano Competition

WFIMC: Why was the 2024 Hamamatsu (the 12th edition) such a huge success? The way everything is organized, the amazing audience, the presence of the competition in the city, all that is working incredible well.

Noriko Ogawa: Its just teamwork, plain and simple. But the audience numbers were rather surprising for us. At the 10th Hamamatsu, six years ago, we had some very, very famous competitors, so we expected less people this time around. But nevertheless, we were sold out from day one! They even created a system for the first round (which was all day long), where you had to leave a token when you went out, so that another person could get in. It worked really well and showed us that our audience had really been waiting for a long, long time…

Still, the interest and support was absolutely outstanding, even for the city of Kawai and Yamaha (which also is a UNESCO Creative City of Music) . 

I think it´s just that every single person is proud of what we have in this city, everybody is really aware what the competition means for us in terms of international exposure.
Hasn´t it always been like that? When was the first time you were here? Did you take part in the competition yourself as well?
No, I was never here as a competitor. My first time was when I visited the competition back in 2015. I knew their famous Chairwoman, Hiroko Nakamura, but I was never here before. 

Is there a competition model that the Hamamatsu follows?

First time I saw the competition here I felt like it was modeled after the Leeds. Just looking at the way things were organized, how the jury members moved, how they were dressed for the finals, and all. Fanny Waterman was here, too. But when I came, I did change some details as well. For example, I completely stopped journalists from approaching jury and competitors directly. 

Looking back at the competition, what were the most important moments for you?

The first round was the most fascinating for me, as we had to narrow 87 competitors to 24 through 20-minute mini recitals. These recitals were unforgettable—vivid, full of personality, and thoughtfully curated. The level of artistry was so high that even pianists who didn't advance left a deep impression. Every programme was unique, and only the most carefully prepared had a chance of progressing. It was a grueling process from morning to evening, but these performances were extraordinary, and their impact will stay with me long after the competition.

You mentioned 87 first-round participants. Was there any discussion in Hamamatsu about number of participants vs. the performance opportunities? Some competitions like Chopin or Busoni invite dozens of competitors, while others, like Geneva, invite fewer participants but offer all of them multiple rounds to play and several prizes. Would it be better to focus on a smaller group, allowing them to perform more and receive greater investment, rather than inviting 100 pianists for just one round? Or does Hamamatsu, as a piano city, prioritize including as many participants as possible to share the experience and present their artistry?

When the competition began in 1991, Japan wasn’t a major tourist destination, and Hamamatsu wanted an event to attract international visitors. This legacy continues, with the competition bringing really a lot of pianists to the city, who become part of the cosmopolitan yet non-capital city charm of Hamamatsu. As chairperson, I recognize that focusing on just 8–10 pianists with multiple concerts is just not feasible for now. Instead, the city’s enthusiastic spirit, where locals connect with and champion their favorite pianists, keeps this competition vibrant. For now, we aim to invite as many participants as possible, while ensuring that the first prize includes numerous concert opportunities in Japan and abroad.

It´s been six exciting years for you at this competition. What did it mean for you personally?

It’s been incredibly rewarding in every way. I’ve met so many amazing people, including everyone at the World Federation! After the successful 10th competition, the cancellation of the 11th was really a low point, leaving us with a deep sadness. However, last year’s General Assembly brought us back to the international stage and was profoundly meaningful. That renewed energy has continued to move us forward. Reflecting on the past six years, though dramatic sometimes, they’ve ultimately been a truly fantastic journey.

 

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