Contestants from Europe, Asia, and North America advanced to the semifinal round of NTD’s 7th International Piano Competition on October 16.
Among the semifinalists is Jean-Luc Therrien from Canada, who studied in Salzburg before establishing himself in Toronto, where he currently performs and teaches. He expressed enthusiasm for exploring the repertoire, noting that the featured composers witnessed the evolution of the piano.
“I am happy that this competition promotes these pieces,” Therrien said.
In addition to their selected repertoire, contestants also had the opportunity to perform a specially commissioned piece arranged from one of the vocal compositions by the artistic director of Shen Yun Performing Arts. This year’s commissioned piece is titled “Holy Grace.” Therrien described certain moments in the piece as feeling “out of this world.”
He explained that the sound of this piece must be celestial, with some passages seeming to ask questions to the heavens.
Robert Neumann from Germany expressed his gratitude for participating in the competition, highlighting the beautiful repertoire. Neumann described good music as that which is both sensible and beautiful, noting that the repertoire requirements included “music from the golden era for performers.” He also found the commissioned piece, “Holy Grace,” to be extraordinary.
“The challenge was in how to assemble the colors that would be heard in an orchestral setting of the piece,” he explained.
Shannon Chiang, a contestant from Taiwan currently studying in the United States, shared her pleasure upon discovering that NTD’s piano competition exclusively features repertoire from the Baroque, Classical, and Romantic eras—her favorite musical styles.
Chiang remarked on the beautiful harmony and clear structure of music from these periods, adding, “Sometimes it can be difficult to understand contemporary music.”
While practicing “Holy Grace,” Chiang noticed that the piece blends Chinese melodies with Western musical forms. She found that mimicking Chinese instruments like the guzheng made it easier to perform the piece.
“I can almost hear which Chinese instrument it was trying to imitate,” she noted. Chiang also reflected on how the piece encapsulates human life, beginning and ending with peace while navigating emotion and conflict in between.
“The title ‘Holy Grace’ gives a serene, peaceful feeling,” she concluded.
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