About XI Chopin Competition Edition
Winners
1st Prize
Stanisław BuninRussian Federation
2nd Prize
Marc LaforêtFrance
3rd Prize
Krzysztof JabłońskiPoland
4th Prize
Michie KoyamaJapan
5th Prize
Jean-Marc LuisadaFrance
6th Prize
Tatiana PikayzenRussian Federation
Stanisław BuninRussian Federation
Marc LaforêtFrance
Stanisław BuninRussian Federation
Jury
Victor MerzhanovRosja
Konstantin GanewBułgaria
Andrzej JasińskiPolska
Barbara Hesse-BukowskaPolska
Ts’Ong FouChiny
Edward AuerStany Zjednoczone
Charles H. WebbStany Zjednoczone
Kazimierz SikorskiPolska
Halina Czerny-StefańskaPolska
Eugène TraeyBelgia
Takahiro SonodaJaponia
Karl-Heinz PickNiemcy
Jan EkierPolska
Mieczysław Horszowski Polska
Piotr PalecznyPolska
Lev VlassenkoRosja
Tadeusz ŻmudzińskiPolska
František RauchCzechy
Valentin GheorghiuRumunia
Bernard RingeissenFrancja
Karl-Heinz KämmerlingNiemcy
Information
The year 1985 brought the debut at the Chopin Competition of the firms Yamaha and Kawai. Participants in the 11th Competition could choose between as many as five instruments, which compared to the list of pianos available in previous editions – two Steinways and one Bösendorfer (Bechstein withdrew after its instrument was chosen just once during the 9th Competition) – was a big change.
Again there was no lack of controversy among the jurors: Fou Ts’Ong, winner of Third Prize in the Competition in 1955, could not accept the awarding of First Prize to Stanislav Bunin, and as a mark of protest he failed to turn up for the jury’s last session and did not sign the verdict. Bunin donated his prize to ‘young generations of budding Chopin interpreters’. The Ministry of Culture and the Arts, in accordance with the donor’s wishes, paid the prize into the Fund for the Development of Culture.
Also associated with the 11th Competition is the institution of the Fryderyk Chopin Society’s international phonographic competition the ‘Grand Prix du Disque Frédéric Chopin’.
Plakat
Tomasz Szulecki’s (born 1953) work for the 11th Competition is a perfect example of how posters tap into our associative sphere, drawing from the surrounding reality and visual culture—including other posters—creating a path of endless references (as if winking at us). In the design, one can see a musical staff on which, instead of notes, the artist placed willows in perspective. The design is treated in a synthetic manner yet remains rich in content. The poster presents a vision of a ‘Chopin landscape,’ where the scenery fades away, existing only as a suggestion. The visible staff lines also double as field boundaries.
