All Good Competitions Must Come to an End: The FLIS Podcast Hosts Sum Up the Chopin Competition 2025 Results

nifc20251020_www_fot.krzysztofszlezak_ksz_5467.jpg, default, David Khrikuli before the final concert of the 19th International Chopin Piano Competition 2025 in Warsaw, photo by Krzysztof Szlęzak / NIFC

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Musicologist Iza Smelczyńska and music critic Filip Lech discuss the agitation in the final round, the orchestral imperfections, and conclude that no matter what, the verdict of the Chopin Competition jury always catches us off guard.

Iza Smelczyńska: Good morning, Filip. It’s 5 A.M., Friday, October 21st – two and a half hours ago, the jury announced their verdict. I already woke up and I know the results. I’m not going to text you, though, so that you can find out on your own when you get up.

Filip Lech: I was awakened early in the morning, half-consciously checked the results, and went back to sleep. I must’ve concluded that after weeks of living and breathing the Chopin Competition, my brain generated a random winners list. Only later did I realize that what I saw in half-sleep was the official results.

In the previous parts of our commentary on the competition, I repeated that I didn’t expect anything from the verdict, but apparently, I must have been too distant from my emotions. Or maybe the final round is just different? After many hours of listening, we become emotionally invested in some performers.

IS: After three weeks of following the contestants, the final round redirected all the attention onto the jury. Until this point, they were merely people seated above us in the hall. After I’ve learned about their verdict, I thought: ‘this is what you’ve been working on all this time?’.

FL: When the final round started, we decided that we’d briefly discuss all the performances, giving everyone equal attention. In our previous accounts, we didn’t do so – we didn’t want to exclude anyone, but we realized it was impossible to discuss all the performances. As it now turns out, we haven’t really previously talked about any of this year’s Chopin Competition winners.

Ostatni akord Konkursu: finałowa jedenastka

Tianyou Li

IS: It seemed like Li wasn’t fully prepared for the final round, as if he was himself surprised that he was promoted. The orchestra didn’t help. At times, it sounded like they played alongside each other rather than together: Lu was in his world, and the orchestra was in their world. The Polonaise-Fantaisie was correct but not brilliant. The oft-repeated phrase – the pianist is ‘playing with a beautiful sound’ – seems adequate here. That’s true, Li plays with an elegant sound. Nothing more and nothing less.

FL: I didn’t find his sound astonishing, but he did play elegantly and attentively. The polonaise was lacking, and the fantaisie was a little too sophisticated for my taste. The Piano Concerto in E minor was undoubtedly a challenge. Li was the first to play in the final round, and the orchestra didn’t really accompany him, as you’ve also noticed. It was all very brillant, but that’s about it.

Eric Lu

IS: I wrote down in my notebook that ‘the Piano Concerto in F minor sounds very precise on a Fazioli piano, almost etude-like’. The performance was a display of artistry and technique, but lacked the freedom I look for in Chopin. Lu’s Polonaise-Fantaisie was testimony to him having the full pianist package: interpretation, musicality, and a sense of style. However, he was so flawless that his performance left me somewhat unsatisfied, as if it were all a bit too perfect.

FL: His polonaise was inventive and distinct, but, similarly to Li’s, not very polonaise-esque. I heard the ‘beautiful sound’ and a lot of interpretative courage, but Lu didn’t sweep me off my feet. The Concerto left me quite indifferent, too. Lu also struggled with the orchestra, but there still were many pleasing, precise fragments. I’d say Lu’s artistry lies in attention to detail.

Tianyao Lyu

IS: Her performance really showed what it means for a soloist to ‘drive’ the orchestra. Lyu dictated the tempo and the energy, the musicians followed her lead, and their collaboration was both visible and audible. No wonder she received the award for the best concert performance. Lyu’s performance was full of immense joy that comes from playing.

FL: In Polonaise-Fantaisie Lyu’s rubato was incredibly skilful, but most importantly, she presented an engrossing interpretation of the piece, which is no easy task. Combining maestoso and dance-like quality without falling into parody is truly impressive. Her polonaise is a mature story that interweaves tragedy and glimpses of beauty. As for the concert, I completely agree with what you’re saying.

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Vincent Ong (5th Prize) before his performance in the final of the 19th International Chopin Piano Competition, 2025 in Warsaw, photo by Krzysztof Szlęzak / NIFC

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Vincent Ong

FL: The beginning of his performance was quite angular, but also brought something new to the table. I wonder how I’d feel about his polonaise if he didn’t play last. He played the Piano Concert in E minor with a huge sound, but he didn’t pound the keyboard. The middle part of the piece, Larghetto, provided an interesting contrast – it was very dreamy and shiny. Lyu dictated the tempo to the orchestra, and Ong somewhat muted the ensemble.

IS: Angular? To me, his interpretation of the rhythms and rubato made his polonaise the most jazz-like in this final round. I’m certainly keeping this recording as a souvenir from the 19th Chopin Competition. His concert was absolutely charming and natural in its singing-like quality. The interpretation was organic and unique.

Miyu Shindo

FL: Her playing was very subtle and not ‘competition-like’. Shindo’s interpretations of both the Polonaise-Fantaise and the Concerto in E minor were very lyrical but also kind of sluggish. She lacked a certain vivacity that I associate with gripping Chopin performances, but I appreciate her vision nonetheless.

IS: Her final result didn’t matter to me at all, similarly to Ong’s. She won my heart with her gentleness and lyricism. Admittedly, her concert was a bit drowsy sometimes. Perhaps if she had more time to rehearse, she could create a more free interpretation, unrestricted by tempo. Shindo has an unusual gift: she knows how to use silence.

Zitong Wang

FL: Her Polonaise-Fantaisie was an example of bringing Chopin’s music to life. Some would focus on enlisting her mistakes, but what’s interesting is how she handled them and created a naturally pulsating construction. Her concert was filled with beautiful tone colours. In lyrical moments, she managed to avoid effusiveness, and when it was appropriate, Wang played lively yet lightly.

IS: Her Polonaise-Fantaisie was amongst the slowest ones, but the tempo was absolutely intentional. I liked the idea very much. Wang played the Concerto in E minor on a Kawai piano, whose sound was different from the Steinway most contestants performed on – once again, she made a bold but subtle choice. Her phrasing was endearing – natural and soft yet powerful. Zitong Wang’s performance in the final round is proof that somewhat restrained playing can be more striking than a more literal interpretation of the dramatic Romantic spirit.

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William Yang, 6th Prize winner, stretching before his performance at the 19th International Chopin Piano Competition 2025 in Warsaw, photo by Wojciech Grzędziński / NIFC

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William Yang

FL: Many interpretations in the competition could be critiqued as too fast. Yang also galloped through some fragments, but he managed to capture every detail. He was also careful with volume, which made his forte sound the way it should, louder than other sounds. I’m fond of this type of sound, but I’ll also note that sometimes his piano seemed lost amongst the orchestra. Nonetheless, Yang became one of the Competition pianists whom I’ll surely keep on following.

IS: The musicians who chose the Concerto in F minor were at an immediate advantage in my private ranking – between the two concerts, I definitely like this one more. It’s more subtle and cantilena-like, and not as flamboyant as the Concerto E minor. Yang’s performance was delightful – it was very balanced, and unlike you, I felt like the orchestra and the piano were in agreement. The whole thing was very authentic. Yang can hear a piece as a whole and go beyond focusing only on his part. His polonaise was another proof – he knew exactly what he was playing, and understood the rhythm and nature of the dance.

Piotr Alexewicz

FL: Alexewicz presented a varied interpretation of Chopin’s sound; he doesn’t limit himself to one pole – gentleness or impetuosity – which some contestants do. He’s able to find both silence and passion in Chopin’s work, and also plays really beautifully. However, I felt that some personal interpretive element was missing, something that would stick and linger in my mind.

IS: I admire his control over sound, and it’s this restraint that I see as characteristic of Alexewicz’s interpretation. It’s very easy to drift towards excessiveness in the Larghetto, and he managed not to – which I really liked. He plays without unnecessary gestures, doesn’t theatrically ‘enter’ into the performance. He’s focused and pensive, and it feels authentic.

Kevin Chen

FL: Chen’s sensibility doesn’t tally with mine. He’s incredibly musical, skillful, and elegant; his sound is beautiful, but I feel like a human touch is missing in his playing. His polonaise left me indifferent, and the concerto was performed very aptly. That’s it.

IS: In the final round, Chen played it safe; he lost the freedom he had in the previous rounds. His polonaise wasn’t varied enough in terms of intensity. As for the concert, the longer he played, the better he sounded. On the whole, it wasn’t a performance that will stay with me for long.

David Khrikuli

IS: What a cool cat. He sat at the piano, the audience barely went silence after the applause, and he instantly banged on the first Polonaise sound as if there was no tomorrow (unfortunately, there was no tomorrow for him in the competition). I’d really like to know what the jury had against him – he didn’t win a single prize. However, he’s definitely not the big loser of the 19th Chopin Competition, because the audience simply loved him. It was apparent in the concert hall and online. To me, Khirkuli has a distinctive stage presence and magnificent technical skills. He was able to develop and exhibit rich emotions in short phrases. He played the polonaise as if the score was a piece of cake – natural, confident, unrestrained.

FL: What a cool cat. I was constantly complaining about the lack of dance-like quality in the polonaises and I can’t say he managed to capture it, but I didn’t mind. Khrikuli’s interpretation was coherent, he decided not to put this element of Chopin’s piece to the foreground. It’s an artistic choice. I was expecting the concert to be a bit more thrilling, but I was satisfied nonetheless.

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Shiori Kuwahara, 4th Prize winner of the 19th International Chopin Piano Competition 2025 in Warsaw, final concert, photo by Wojciech Grzędziński / NIFC

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Shiori Kuwahara

FL: I’m in a fix. A critic I highly respect wrote that she stumbled in the Concerto performance. A pianist I respect just as much told me that she was the only one to play the whole concert flawlessly. I’m more inclined to agree with the pianist. Luckily, the VAR technique we know from football is not yet used to settle disputes in the Chopin Competition. Kuwahara plays with a heavy hand, but it has its own charm.

IS: I really liked her interpretation of the Polonaise-Fantaisie – the way she balanced between gentleness and tension was engrossing. Her Concerto sounded majestic, balanced, and clear. The mature phrasing had me listen to the performance without agitation that accompanied me throughout the final round. She played with a movie-like quality, which stimulated my imagination. Even if she did slightly stumble here and there, I got carried away on this musical journey.

Safe is best?

FL: Our previous Chopin Competition made it to a Polish gossip website that reported ‘the music scholar Iza Smelczyńska reprimanded the audience of the Chopin Competition’. Should we expect a headline alleging that the music scholar reprimands the Chopin Competition jury?

IS: Well, I was surprised by the verdict. I think I expected the jury to make a bolder decision. Meanwhile, the results are as exciting as lukewarm tea (‘The music scholar reveals: the Chopin Competition results are as exciting as lukewarm tea’). The enthusiasm I was feeling from the beginning faded. However, it’s not like Lu shouldn’t be a winner – he’s an excellent pianist, his technique and composure are impressive.

The final verdict also shows how much the the perspective of the critics and the audience differs from the perspective of the jury. The listeners had their own favourites, and online comments were brimming with emotions and opposition to the conservative verdict. This edition yet again reminds us that in the Chopin Competition, there are two parallel rankings: the official one and the unofficial one of the audience.

Eric’s Lu win is a nod to a pianist who is elegant and cohesive – in jury’s eyes, he’s probably an ideal example of stability. Perhaps the jurors decided Lu best exhibits a classic, ‘safe’ interpretation of Chopin’s music. However, to many in the audience, the verdict seems to have neglected the search for a stronger voice and artistic personality, someone who’d have the courage to be outside the box. I’m one such listener. It’s really difficult not to see the jury’s choice as a compromise, and compromises are rarely exciting. We expect something more than a correct choice from a competition of this importance – we’re seeking a spark, a triumph of someone who is capable of changing the way we understand Chopin.

FL: As I’ve mentioned earlier, my mind was reluctant to believe the results, but it’s not like I’m outraged. The emotions accompanying this year’s Chopin games were extraordinary. I think no one expected such a heated atmosphere. It’s no exaggeration to say that no other art-related event sparked such emotions in Poland, even Taylor Swift’s concerts or the Oscars. It’s egalitarian. We’re all stirred – music critics, music school graduates who gave up only playing, melomaniacs, and laypeople who decided to follow the competition for the first time ever. All receptions are equally important. I think that amateurs are sometimes able to have more interesting observations.

The reactions to Lu’s win were sometimes too brutal, which is inappropriate especially when it’s the ‘experts’ commenting publicly.

Iza, will the competition leave a void in your life for a while?

IS: For sure! In the past weeks, I often caught myself humming Chopin in my head, and I dreamt of the competition several times. I got possessed by Fryderyk. In all seriousness, it was a very intense time. Now I’ll gladly take a break from classical music and put some caterwauling on. And we still have some more podcast episodes to record! What about you?

FL: The everyday pilgrimage to the Philharmonic was very pleasant, so I’m a little sad it’s over. But Chopin is still on my mind – before we publish the next episodes of our podcast, we’ll share a playlist with Chopin’s pieces.

Translated from Polish by Natalia Sajewicz

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