Finalists will perform with the Cincinnati Symphony Orchestra on October 6.
Art of the Piano has revealed the exceptional finalists for its inaugural Nina Simone Piano Competition, a biennial event designed specifically to highlight the extraordinary talent of young Black pianists.
Fourteen gifted Black pianists from across the nation gathered in Cincinnati June 21-24 to compete in the Seniors, Artists, and Junior divisions of the competition. Over the course of seven rounds and an astonishing 11 and a half hours of music, these young artists captivated the audience and judges alike with their virtuosity and passion.
Among the remarkable participants, three finalists have been selected to take center stage and perform with the prestigious Cincinnati Symphony Orchestra on October 6. Art of the Piano takes immense pride in providing a platform that celebrates diversity and promotes the outstanding contributions of young Black pianists to the world of classical music.
“When it comes to opportunities, or lack thereof, for Black pianists: I have seen it, I have lived it, and we, at the Art of the Piano, are trying to change it,” says Awadagin Pratt.
The distinguished finalists are:
Clayton Stephenson mesmerized the audience with a powerful rendition of TCHAIKOVSKY's Piano Concerto No. 1 in B-flat minor, Op.23.
Joshua Mhoon's expressive performance of RACHMANINOFF's Piano Concerto No. 2 in C minor, Op. 18, left a lasting impression on everyone present.
Kayden Kelly showcased his exceptional talent with a captivating rendition of LISZT's Piano Concerto No. 1 in E-flat Major.
Each finalist will play for a live audience and a jury. At the end of the evening, a grand-prize winner will be chosen, and given a medal, a cash prize of $50,000, as well as performance opportunities.
The 2023 Nina Simone Piano Competition, organized by Art of the Piano, aims to empower young Black pianists by providing a visible platform, opportunities, experience, and support. Additionally, the competition seeks to increase representation of Black artists on concert stages, commission new works, and enrich the classical canon with more African American pianistic voices.
“Looking at the concert halls across the country, it's clear that the job isn't done when it comes to integration,” said Awadagin Pratt. “Having been on the front lines for almost 30 years now observing what's happening both on and off stages, I can attest firsthand that last year was the first full season of orchestras and presenters across the country trying to actively, purposefully, and most importantly… committed to trying to diversify their stages and audiences. However, there remains a lot of room for continued growth.”
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