2026 Trinity International Music Competitio

 

2026 Trinity International Music Competition

Applications are now open for the FIRST ROUND!

Deadline for the first round: November 20, 2026

https://www.trinityinternationalmusiccompetition.org

We invite musicians and music students from around the globe to participate, whether you are a soloist, duo, trio, or part of an ensemble.

Special awards and prizes are available, including the chance to be featured on major news networks.

Top winners will be showcased on major music distribution platforms such as Apple Music, Spotify, Amazon Music, Deezer, and more!

We are accepting applications now, so don't miss this opportunity to showcase your talent in this prestigious competition!

We welcome all instruments and voices, covering all genres of music—from classical to jazz, pop, contemporary, traditional, or ethnic music. Whether you're performing solo, as a duo, in an ensemble, choir, or orchestra, there are no age restrictions.

We look forward to your participation!

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A Fantasy About a Fantasia: Henry Purcell and Elliott Carter

 by Maureen Buja  May 7th, 2021

Henry Purcell

In the summer of 1680, Henry Purcell (1659-1695) started to experiment with an older musical form, the fantasia. The basic structure of a fantasia is the construction of several musical phrases, or points, each of which is given a contrapuntal working out before going on to the next one. Purcell would have been familiar with these from Matthew Locke’s (c. 1621-1677) fantasia sets of a generation earlier. Purcell brought his own ideas to the form, making each point full of theatrical gestures, and adding in chromaticism and dissonance.

In Purcell’s Fantazia Upon One Note, his only fantasia for 5 parts, one instrument, the tenor viol, plays only one note, middle C. Around this still point, the other instruments play their parts, from the gentle opening to the triumphal ending. It’s only in the middle, in a minor choral section, that the tenor viol has a brief ‘solo’ appearance.  

Viols as illustrated in Michael Praetorius: Syntagma musicum: Vol. II De Organographia: Appendix: Theatrum Instrumentorum seu Sciagraphia (1620)

The tenor viol part is difficult to hear on a recording but is much easier to see in a performance.

American composer Elliott Carter (1908-2012) felt that the dramatic nature of Purcell’s work, ‘a repeated, tolling, bell-like note sounding through musical episodes of contrasting character,’ was seldom achieved in performance. The tenor viol’s middle C was lost in the musical mix. His arrangement of the Purcell fantasia was designed to bring out that lost middle C and by moving it to a brass ensemble, could change the dramatic possibilities of the work.

Elliott Carter

The work was created in 1974 as ‘A Christmas Present for the American Brass Quintet,’ as the dedication reads.

It is not known why Purcell took up the writing of fantasias in 1680, but in doing so, he left us a wonderful farewell gift to a musical style that was quickly fading. His 1680 works are considered the last music written for the viol before its modern revival starting in the mid–20th century with England’s Viola da Gamba Society, founded in 1948.

Yuja Wang

 

Khatia Buniatishvili (Born June 21, 1987) Passion, Piano, and Polarising Artistry

 by Georg Predota  June 21st, 2025

Hate her or love her, Khatia Buniatishvili is one of the most captivating and polarising figures in classical music today. Known for her virtuosic technique and deeply expressive performances, she has garnered both fervent admiration and critical scrutiny.

Khatia Buniatishvili © Julia Wesley

Embracing artistic freedom, Buniatishvili reinterprets classical works to reflect her unique vision, breaking from tradition to offer fresh, resonant perspectives. At the heart of her artistry lies a deep connection to the human experience, blending Enlightenment values with interdisciplinary explorations in film and music, while her charismatic stage presence strengthens her bond with listeners.

Her intense focus on emotional expression sometimes results in technical inaccuracies, with critics noting occasional lapses in control during complex passages. It is argued that her idiosyncratic interpretations deviate excessively from traditional practices and the composer’s intention. In addition, her glamorous stage persona and dramatic presence invite criticism for potentially overshadowing the music.

To celebrate her birthday on 21 June 1987, we have decided to focus on some of her most iconic recordings.  

Chopin Album

Khatia Buniatishvili’s rendition of Frédéric Chopin’s Ballade No. 4 in F Minor, Op. 52, featured on her 2012 Chopin album released by Sony Classical, stands as a vivid testament to her reputation as a pianist of extraordinary emotional depth and technical virtuosity. This performance encapsulates her signature style. It is intensely personal, boldly expressive, and unapologetically individualistic.

This recording stands out for its balance of lyricism and virtuosity, and as a deeply personal reinterpretation. Fans and critics acknowledge her ability to make the piece feel alive and urgent, and her interpretive freedom is both captivating and alienating. Her expressive use of rubato, for instance, stretches the architectural aspects of the piece to the point of distortion.

Buniatishvili’s Chopin Ballade No. 4 is a microcosm of her artistry. It is a blend of technical brilliance, emotional intensity, and fearless individuality that divides opinion. Love it or hate it, this recording remains a defining moment in her career.  

Liszt Album

One of her earliest major releases, Buniatishvili’s recording of the Liszt B-minor Sonata is a striking showcase of her virtuosic brilliance, emotional intensity, and bold interpretive vision. It established her as a formidable interpreter of this complex and demanding work, earning both fervent admiration and critical scrutiny.

Buniatishvili’s rendition is characterised by its daring tempi, theatrical dynamics, and deeply personal expression, which offers a vivid reinterpretation that captivates and polarises in equal measure. Her rendition was described as “a rollercoaster of passion,” but this intensity also fuelled critical debate.

Some critics have noted moments of rhythmic unevenness or slight smudging of notes, particularly in the densest passages. This suggests that her emotional exuberance can lead to technical lapses under the pressure of her ambitious pacing. In fact, Buniatishvili’s approach has been likened to “Horowitz but more mistakes.”  

Schubert Album

Khatia Buniatishvili released her Schubert album on Sony Classical in 2019. It offers a deeply personal and emotionally charged interpretation of the 4 Schubert Impromptus. To be sure, Buniatishvili brings her signature intensity and lyrical sensitivity to Schubert’s introspective works.

Buniatishvili approaches these pieces with a painterly touch, treating each as a vivid emotional vignette. Her use of rubato is generous but controlled, allowing the melody to breathe with conversational quality that reflects her human-centric artistry.

Some critics lauded this performance for its “effervescent and elegant execution,” with one review describing it as a “masterclass in balancing virtuosity and lyricism.” Detractors point out moments where her tempo fluctuations feel excessive, arguing that her expressive liberties stretch the piece’s structure beyond Schubert’s intentions.  

Mozart Album

Khatia Buniatishvili recorded two Mozart Piano Concertos on her 2024 Sony Classical release. Once again, it is a vibrant and deeply personal interpretation of Mozart’s most beloved works. Buniatishvili brings her characteristic emotional intensity and lyrical sensitivity to the Piano Concerto No. 23, and offers a fresh perspective that captivates listeners while sparking critical debate over her interpretive choices.

Her performance is shaped by her broader artistic philosophy of championing creative liberty and emotional immediacy. She approaches Mozart’s concerto as a living work, infusing it with her own experiences and personality rather than adhering strictly to classical conventions. This is evident in her bold, dynamic choices and flexible phrasing, which create a sense of spontaneity that resonates with modern audiences.

Khatia Buniatishvili is a pianist of extraordinary talent, whose passionate and individualistic approach has redefined how audiences experience classical music. Her ability to evoke profound emotion and her technical prowess make her a standout figure, though her unconventional style and occasional technical inconsistencies spark debate among some critics. Buniatishvili’s artistry is undeniably compelling, making her a fascinating figure in the classical music world.

BodyMinded Thinking in the Performance of Music

 by Greg Holdaway  April 28th, 2021

© The Vital Gaitway, Center for Body Education

Musicians contribute so much to the personal and cultural well-being of the community and play music because they love it. Given that, it is a shame that for some, a career and/or long-term love of playing is associated with levels of stress and discomfort – sometimes a great deal of stress and discomfort. There are musicians who have become so injured as a consequence of their playing that they have been unable to continue with their beloved music making. Thankfully that is not everyone, but in the ranks of committed musicians, struggling with well-being while performing at their best is more common than you might realise.

That statement is supported by research into musicians’ wellbeing that is growing year by year1. As a result, physical and psychological struggles with playing, particularly high intensity playing, is being increasingly recognised as a professional problem that needs to be addressed.

This series of articles from BodyMinded in Australia aims to provide a practical guide to preventing and addressing playing related injury and stress, and in the process support development of musical potential at all levels of achievement.

If your focus is on performance, rather than dealing with injury, these articles will also provide support. Musicians move in order to make music, and as an embodied sense of how to cooperate with your own structure and your instrument takes hold, you will find your instrument becoming an integrated extension of the sense of yourself and the music will flow increasingly with ease, power and facility2.

And finally, after years of providing professional development training for music teachers, I’m aware of how deeply teachers take their responsibility for the well-being of their students. Creatively teaching safe body-use as a part of music lessons will help to prevent the kinds of difficulties that often arise when a musician becomes more serious and begins spending many more hours playing.

Treating the instrument as an extension of the self is common amongst long-term instrumentalists. I had a student in a workshop one day who, when I said “hello”, leant sideways to reply to me. Curious about that, I moved to the other side of the person and asked another question. Sure enough, he leant to the other side in order to answer! The next day he came to a musician’s class, with his instrument. A large tuba, which he sat with on his lap…

© K.C. Strings Violin Shop

Let’s get started with a practical illustration. Many instrumentalists experience shoulder and neck stiffness or discomfort, or experience heaviness in the arms after playing for a while. Here is a simple question: where do your arms attach to your body? Take a moment to point or touch that part of your body. Did you point to the outside of your shoulders? This is most usual representation.

Now feel your collarbones, at the top front of your chest. Feel along towards the centre until you find the bump where the collarbone attaches to the breastbone. This is the only bony joint where the arm bones attach to the rest of the skeleton. You can feel this by using one hand to feel how your collarbone moves as you lift the other arm. Can you feel it? When your arm moves the whole shoulder girdle (collarbone and shoulder blade) are involved. The arms are suspended from the spine, via those shoulder and neck muscles that are sometimes so uncomfortable. The shoulder blades are embedded in muscles that mean they can move a whole lot; up, down, forward, back, always in support of and following the movements of the arm.

This means that when you raise or use your arms for any purpose, your shoulder girdle is involved. The collarbones and shoulder blades are arm bones! See what happens if you try to keep your shoulder girdle held still or back while moving your arms, and then compare that to letting the shoulders move with and in response to movements of your arms. Can you feel the difference?

Arm Shoulder Girdle Movement  

Thinking about this a pianist comes to mind who complained of long-standing shoulder and arm discomfort while playing. Nothing had made a difference, and she had lived with that for a long time. After exploring how much her shoulder girdle can move the instruction became: “let your shoulders move when you bring your hands to the keyboard”. The result, so much relief she burst into tears.

This story illustrates how discomfort may be a consequence of simple misunderstanding about how things work. The BodyMinded process is to practise conscious cooperation with the way things work. This is sometimes stated as: Let everything move that needs to move in service of your activity.

Each article in this series will cover a specific example of BodyMinded thinking in practise, concluding with a general principle that applies to achieving and teaching good coordination as a musician. In this way I hope to assist you with your enjoyment and wellbeing in playing, and support those who are teaching others.

Making Fun of the Master Richard Wagner in Caricature

 by Maureen Buja  June 24th, 2023

Richard Wagner (1813–1883) was a revolutionary in German music and in opera. For opera-goers, the advent of Wagner onto their stages was cause for comment, particularly in the caricature sections. In images, the cartoonists could take aim at all they saw as false or inflated in the music and person of the composer.

The French caricaturist André Gill (1840–1865) had a style that depicted enlarged heads on tiny bodies. He drew Wagner determinedly breaking a listener’s ear by hammering a note into place.

Gill: Wagner, 1868

8 years later, Gill took on “The tetralogist” Wagner by showing him relentlessly banging a pot and being served apple cider by a monkey. Wagner, in the caption, dismisses the French “The French are a people of monkeys” and the cartoonist saying that the ape people now have the art of the scream, which will easily compete with Wagner. Wagner was quoting Voltaire, who called the French a mix of monkeys and tigers (Wagner: Art and Politics, 1868), but the French quickly took the quote out of context.

Gill: Le Tétralogue Wagner, 1876 (L’Eclipse, September)

Another caricature helpfully shows how to create a shadow image of Wagner, although it does require holding your hands in seemingly impossible positions (and the note that the beard should be made with a piece of folded paper).

Trewey: Silhouette of Wagner, 1877

Kreutzburger: Silhouette de Wagner (after Trewey), ca. 1877

The overwhelming use of brass and percussion in Wagner’s scores led to several caricatures including this one showing Wagner beating his own drum for Tannhäuser.

Blass: Wagner, inventor of the bass drum with musical grapeshot, indulging in his favorite exercise

Honoré Daumier (1808–1879) depicts an audience that has been forced ‘par ordre’ to listen to an hour of Wagner. They slouch, they fall asleep, they endure, battered by a hail of notes, wielded by an authoritative hand.

Daumier: A Munich. Après une heure de Wagner par ordre!!, 1868 (Le Charivari, July 8, 1868)

The downside of this is a complaint that Sleep (Morpheus) brings to Zeus – carrying his sack of poppies on his back, he’s out of job, replaced by Wagner.

Cham: Morpheus is out of a job, 1861

Another caricature, after the death of Wagner, shows him arriving in heaven and thanking the angels for the receptions but complaining that there aren’t enough trumpets and drums – you’ll never get a production without them!

Wagner in Heaven, 1883

In a caricature after the death of Wagner, the theatre director Pierre Gailhard (1848–1918), director of the Paris Opera, and the French conductor Charles Lamoureux (1834–1899) bombarded Paris in 1891 with Wagner. They are dressed in ‘the livery of Wagner’, with ‘W’ embroidered everywhere. Wagner is depicted between the two mighty horns as a ghostly shadow. Written under the cannon is ‘Ritt’, director of the Paris Opera, for whom Gailhard worked.

B. Moloch: The New Siege of Paris in 1891

In another depiction of the Opera, Pierre Gailhard and Eugène Ritt (1817–1898) are shown on the peak of the Paris Opera holding a drum and a trombone (more brass and percussion!). Between them, holding a two-handed saw is Wagner. This caricature followed the premiere of Lohengrin at the Opèra.

Gilbert-Martin: Le Nouveau Couronnment de l’Opéra, 1891 (Le Don Quichotte, vol. 18, no. 399)

Another assault with brass, but this time depicting the field of battle as Bayreuth. Wagner is shown with the support of Hans Richter, in the foreground, the conductor at Bayreuth. Between Wagner and Liszt on the top left is Cosima Wagner. Below Wagner is Wilhelm Jahn, director of the Vienna State Opera, and the bass-baritone Emil Scaria, who sang in the premiere of Parsifal. We also have the dragon from Siegfried and Brunnhilde’s horse Grane just above Cosima. Other personalities down the left side include the German Emperor Louis II, the composer Johann von Herbeck, the Rhinemaiden Lili Lehman, actor Josef Lewinsky, and pianist Anton Rubinstein.

Klie: The Battle of Bayreuth, 1876

We’ll close with some of the greatest entry music of all time.