‘I want all contestants to understand that no decision we are about to announce will define you, ’ said Carl Nielsen International Competition president Nikolaj Szeps-Znaider as a prelude to revealing the 2019 results in Odense, Denmark. It was a statement typical of the healthy, collegiate environment of this year’s event. In some respects an incredibly tough and demanding ask of all participants, in others the contest was defined by its warm appreciation of music in every form, and of the works of Carl Nielsen in particular.
The Nielsen competition, launched in 1980, was designed as a vehicle for the composer’s music – much loved in his native Denmark, but less recognised and performed internationally. Active in the early 20th century and influenced by such late Romantics as Brahms and Grieg, Nielsen increasingly stretched the bounds of tonality, as evidenced in his concertos for violin, flute and clarinet. The contest’s three instrument sections each champion their corresponding concerto, and while previous iterations focused on a single instrument, the 2019 competition was the first to feature concurrent rounds for all three.
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