The Cliburn Announces New Cliburn International Competition for Conductors

Hosted in partnership with the Houston Symphony and the Shepherd School of Music at Rice University, the inaugural competition will take place in June 2028 in Houston, Texas with Marin Alsop as Jury Chair 

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Houston, TX - January 22, 2026

The Cliburn announces the launch of a major new program: the Cliburn International Competition for Conductors, open to 21- to 35-year-old conductors. Taking place in June 2028 in Houston, Texas, in partnership with the Houston Symphony and the Shepherd School of Music at Rice University, it will be the first major international conducting competition in North America. Marin Alsop, one of the foremost artists of our time and conductor of the 2022 and 2025 Van Cliburn International Piano Competitions, will serve as Jury Chair, and the Houston Symphony will perform with all competitors.

An esteemed Artistic Advisory Committee will consult on rounds, repertoire, and ways to support young conductors, and includes Alsop, Miguel Harth-Bedoya (Distinguished Resident Director of Orchestras and Professor of Conducting at the Shepherd School), Kent Nagano, Robert Spano, Juraj Valčuha (Music Director of the Houston Symphony), and Xian Zhang.

“Conductors are among the most pivotal figures in classical music and need opportunities to showcase their artistry. For more than 60 years, the Cliburn has focused on discovering exceptional young artists, launching their careers, and bringing classical music to the widest international audience possible. We are uniquely positioned to leverage our experience and reach to launch the first major conducting competition in North America,” said Jacques Marquis, President and CEO of the Cliburn. “Van Cliburn made his orchestra debut with the Houston Symphony at age 12 and later went on to conduct some of the world’s top orchestras himself, so this is a natural continuation of the Cliburn’s mission. We are delighted to come full circle and share his vision of excellence and love of music with the great city of Houston. The future of the arts and the ability to do great things rests on collaborations, and the Cliburn is thrilled to be working alongside the Houston Symphony and its fantastic musicians, and to partner with the Shepherd School of Music at Rice University to host. Inspired by Van’s legacy and Marin Alsop’s vision, we look forward to welcoming the world’s top young conductors to Texas in 2028.”

Applications for the Cliburn International Competition for Conductors, as well as full schedule, rules, rounds, and requirements, will be available in October 2026 and due in November 2027. A screening jury will review online applications and video submissions, selecting up to 25 applicants for a live audition in early 2028 at the Shepherd School of Music at Rice University. 12 competitors will then be invited to compete in June 2028. The competition itself will take place at the Shepherd School of Music and Jesse H. Jones Hall for the Performing Arts, home of the Houston Symphony. All Competition Rounds will be open to the public; tickets will go on sale in early 2028.

One grand prize winner will receive a cash award of $50,000, concert opportunities, and bolstered publicity efforts. Finalists will each receive cash awards of $20,000.

The Cliburn builds on its already well-established digital presence—with video views topping 100 million in over 180 countries over the past four years—and will livestream all rounds to a passionate international audience.

“Conducting the Finals of the past two Van Cliburn International Piano Competitions and watching the medalists’ careers blossom has been deeply rewarding. Creating access and new opportunities for the next generations of gifted musicians is one of the most meaningful aspects of my work,” said Marin Alsop. “When I was invited to serve as Jury Chair for a new conducting competition modeled on the Cliburn’s piano competition, it felt like a natural next step in my partnership with this wonderful organization and one that strongly aligns with my mission to remove barriers and expand opportunities for emerging conductors.”

“It is an honor for the Houston Symphony to collaborate on bringing the new Cliburn International Competition for Conductors to Houston,” said Gary Ginstling, Houston Symphony Executive Director and CEO and holder of the Margaret Alkek Williams Chair. “Houston is a global hub with a thriving international community and is the perfect place for the Cliburn to launch this new initiative. The Houston Symphony’s artistry and flexibility make us the ideal symphony orchestra to help identify a new generation of conducting talent.”

 “The Shepherd School is thrilled to join our partners in launching this major new conducting competition,” said Matthew Loden, the Lynette S. Autrey Dean of Music at the Shepherd School of Music. “From its earliest days, the Shepherd School has been deeply committed to training young conductors, who study with distinguished faculty such as the late Larry Rachleff and now Miguel Harth-Bedoya. We are eager to host conducting talent from around the world in 2028, and we’re proud to be part of launching this next generation of musical leadership.”

Through this new competition, the Cliburn, the Houston Symphony, the Shepherd School of Music, and Alsop demonstrate dedication to discovering the best young artists and to sharing music with the largest global audience possible. Building on the legacy of the Van Cliburn International Piano Competition—described by The Guardian as “the instrument’s Olympics”— the Cliburn International Competition for Conductors will be a catalyst for launching significant worldwide careers for its winners.

The Cliburn’s four-year cycle now evolves to:

 YEAR ONE–Non-Competition Year 
(focus on winners’ career management and other programs)
YEAR TWO–Cliburn International Junior Piano Competition
(for pianists age 13-17; June 2027)
YEAR THREE–Cliburn International Competition for Conductors
(for conductors age 21-35, June 2028)
YEAR FOUR–Van Cliburn International Piano Competition
(for pianists age 18-30, May/June 2029)

The Cliburn International Amateur Piano Competition, inaugurated in 1999 to highlight the importance of music-making in everyday life, will be retired. The first event of its kind in the United States, the program has largely accomplished its mission of growing a thriving community of non-professional pianists.

Cliburn International Competition for Conductors Key Dates:

October 2026: Applications open for the Cliburn International Competition for Conductors; rules, rounds, and requirements are announced

November 2027: Applications due

 January 2028: Tickets on sale

Winter 2028: Live screening round, hosted by the Shepherd School of Music at Rice University, for up to 25 conductors

April 2028: 12 competitors announced

June 2028: Cliburn International Competition for Conductors takes place, with 12 invited competitors conducting the Houston Symphony

About the Cliburn

The Cliburn advances classical piano music throughout the world. Its international competitions, education programs, and concert series embody an enduring commitment to artistic excellence and the discovery of new artists. The Van Cliburn International Piano Competition (eighteenth edition, May/June 2029) is widely considered “the instrument’s Olympics” (The Guardian, June 2025) and “one of the most prestigious contests in classical music” (The New York Times, June 2022). From its origins in 1962 through today, it has remained dedicated to sharing music with the largest international audience possible and to launching the careers of its winners. Known for excellence and innovation in the digital space, the Cliburn is one of the most-watched events in classical music: video views over the past four years have topped 100 million across 200 countries.

The Cliburn is a proven catalyst to significant worldwide touring careers for its winners, with a laureate roster that—in the past 25 years alone—includes Olga Kern, Joyce Yang, Haochen Zhang, Nobuyuki Tsujii, Yeol Eum Son, Vadym Kholodenko, Beatrice Rana, Yekwon Sunwoo, and Yunchan Lim. And to that list, it now adds its 2025 class: Aristo Sham (gold), Vitaly Starikov (silver), and Evren Ozel (bronze). This track record of success brings an elite group of 18- to 30-year-old pianists to Fort Worth every four years to compete for the coveted medals. The total Cliburn prize package is worth an estimated $2 million and includes comprehensive and personalized career management, concert bookings, artistic support, and bolstered publicity efforts.

Over a four-year cycle, the Cliburn contributes to North Texas’ cultural landscape with over 170 classical music performances for 150,000 attendees through competitions, free community concerts, and its signature Cliburn Concerts series. It presents 1,000 Cliburn in the Classroom in-school, interactive music education programs for more than 200,000 area elementary students. 

About the Houston Symphony

Under the leadership of Music Director Juraj Valčuha, the Grammy Award-winning Houston Symphony continues to inspire and engage diverse audiences in Houston and beyond with exceptional musical performances and enduring community impact. The Symphony held its inaugural performance at The Majestic Theater in downtown Houston on June 21, 1913. Now in its second century as one of America’s premier orchestras, the Houston Symphony is one of the oldest performing arts organizations in Texas and remains a cultural cornerstone of the region.

With an annual operating budget of $42 million, the Symphony presents over 150 concerts each year, making it one of the largest performing arts organizations in Texas. Its reach extends far beyond the concert hall, delivering more than 600 performances annually at schools, community centers, hospitals, and other venues, engaging over 160,000 people throughout Greater Houston.

 The Symphony's innovative response to the COVID-19 pandemic—completing its 2020-21 Season with in-person audiences and weekly livestreams—earned national recognition and the ASCAP Foundation’s Deems Taylor/Virgil Thomson Broadcast/Media Award. Its commitment to innovation continues, with its 2024-25 Season reaching audiences in over 45 countries and all 50 states via livestreaming, making it one of the few American orchestras to sustain such global digital engagement.

Renowned for its artistry, the Symphony has a distinguished recording legacy under prestigious labels, including Koch International Classics, Naxos, RCA Red Seal, and Pentatone. Highlights include a Grammy and ECHO Klassik Award-winning live recording of Alban Berg’s Wozzeck and recent releases such as Jimmy López Bellido’s Aurora and Ad Astra (2022) and Jennifer Higdon’s Duo Duel (2023).

The Symphony’s educational impact is equally remarkable, with its Harry and Cora Sue Mach Student Concert Series reaching over 50,000 students annually. Its In Harmony after-school program and partnerships with institutions like the Houston Methodist Hospital, MD Anderson Cancer Center, and Texas Children’s Hospital further demonstrate the Symphony’s commitment to fostering community connections and accessibility to the arts.

With a vision centered on artistic excellence, community engagement, and accessibility, the Houston Symphony remains a cultural leader in Houston and a global ambassador for the transformative power of music.

About the Shepherd School of Music at Rice University

Rice University’s Shepherd School of Music cultivates the mastery of musical performance, combining a conservatory experience with the educational opportunities of a leading research university. Guided by the belief that talent manifests along unique paths, the Shepherd School limits its student body to 285 uniquely gifted young musicians.

Shepherd gives each music major access to world class teachers—all accomplished artists in their own right—dedicated to cultivating talent and professional success. Its faculty is known for their individualized instruction and for equipping musicians with the skills and experience necessary to develop their own esteemed careers. 

Shepherd alumni include Pulitzer Prize and Grammy winners. They have debuted at Carnegie Hall, appeared with the Chamber Music Society of Lincoln Center and the Metropolitan Opera, and hold positions in orchestras and chamber music groups around the country and the globe.

In just fifty years, the Shepherd School of Music has become a leading international music school, making it both one of the youngest and one of the most prestigious university-level programs in the country. 

About Marin Alsop

One of the foremost conductors of our time, Marin Alsop is the first woman to serve as the head of major orchestras in the United States, South America, Austria, and Great Britain. Winner of the 2025 Golden Baton Award from the League of American Orchestras, Alsop is also the first and only conductor to receive a MacArthur Fellowship.

Alsop serves as Artistic Director and Chief Conductor of the Polish National Radio Symphony Orchestra, Principal Guest Conductor of the Philharmonia Orchestra, Principal Guest Conductor of The Philadelphia Orchestra, and Chief Conductor of the Ravinia Festival. 

Alsop is a 2025-26 Carnegie Hall Perspectives artist, leading concerts with the Philharmonia Orchestra, The Philadelphia Orchestra, National Orchestral Institute Philharmonic, The Juilliard Orchestra and Carnegie Hall’s own Ensemble Connect. Additional season highlights include conducting the Philadelphia Orchestra’s season opener concerts as well as concerts with the Chicago Symphony Orchestra, Dallas Symphony Orchestra, Houston Symphony Orchestra, Washington National Opera, Polish National Radio Symphony Orchestra, ORF Vienna Radio Symphony Orchestra, and Deutsches Symphonie-Orchester Berlin. 

To nurture the careers of women conductors, Alsop founded the Taki Alsop Conducting Fellowship to empower extraordinary women conductors through intensive coaching, mentoring, and financial support.  Today, all 36 award winners hold over 30 music director or chief conductor positions.

In 2021, Alsop assumed the title of Music Director Laureate of the Baltimore Symphony Orchestra. During her 14-year tenure as Music Director, she led the orchestra on its first European tour in 13 years, conducted more than two dozen world premieres, and founded the music education program OrchKids. 

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Media Contacts:
Caroline Finane / 8VA Music Consultancy
caroline@8vamusicconsultancy.com
+49 152 27073037

Patricia Price / 8VA Music Consultancy
patricia@8vamusicconsultancy.com
+1 509-995-5546

The New York Times: Review: Yunchan Lim, Teenage Piano Star, Arrives in New York

The New York Times
By Zachary Woolfe

The 19-year-old musician made his New York Philharmonic debut with a powerful yet poetic performance of Rachmaninoff’s Third Concerto.

“He plays like a dream,” we say about musicians we like, meaning simply that they’re very good.

But when I say that Yunchan Lim, the 19-year-old pianist who made a galvanizing debut with the New York Philharmonic at David Geffen Hall on Wednesday, played like a dream, I mean something more literal.

I mean that there was, in his performance of Rachmaninoff’s Piano Concerto No. 3, the juxtaposition of precise clarity and expansive reverie; the vivid scenes and bursts of wit; the sense of contrasting yet organically developing moods; the endless and persuasive bendings of time — the qualities that tend to characterize nighttime wanderings of the mind.

This dreamy concert was among Lim’s first major professional performances outside his native South Korea, though he is already world-famous for this concerto. His blazing account of it secured his victory last June as the Van Cliburn International Piano Competition’s youngest-ever winner, and the video of that appearance has been viewed millions of times on YouTube.

Read more here.

Photo Credit: Chris Lee

The Economist: The wonder of Lim Yun-chan’s performance of “Rach 3”

The Economist

The 18-year-old pianist’s version of a famously difficult piece has wowed music fans
Still standing at her podium, the distinguished conductor Marin Alsop wiped away a tear. She says she cannot remember the last time she cried onstage, but she was far from alone in feeling moved by the artistry of Lim Yun-chan. Ms Alsop had just conducted the 18-year-old South Korean pianist in Rachmaninoff’s “Piano Concerto No. 3” in Fort Worth, Texas—a performance that last month helped make him the youngest-ever winner of the prestigious Van Cliburn International Piano Competition. A video of his mesmerising interpretation of “Rach 3”, as the piece is known by pianophiles, has been viewed more than 5m times on YouTube.

Read more here.

Associated Press: Pianist, 18, from South Korea wins Van Cliburn competition

Associated Press

An 18-year-old from South Korea has won the 16th Van Cliburn International Piano Competition, one of the top showcases for the world’s best pianists.

The competition held in Fort Worth, Texas, ended Saturday night with Yunchan Lim becoming the competition’s youngest winner of the gold medal. His winnings include a cash award of $100,000 and three years of career management.

The silver medalist was Anna Geniushene, a 31-year-old from Russia, and the bronze medalist is Dmytro Choni, a 28-year-old from Ukraine.

Lim told the Fort Worth Star-Telegram that he’ll discuss with his teacher what the next move for his career should be.

“I am still a student and I feel like I have to learn a lot still,” Lim said. “This is a great competition and I feel the burden of receiving this great honor and award so I will just push myself to live up to the honor I received today.”

Read more here.

The New York Times: At Cliburn Competition, Pianists From South Korea, Russia and Ukraine Triumph

The New York Times
By Javier C. Hernández

The war in Ukraine loomed over the prestigious contest in Texas, named for the pianist Van Cliburn, who won a victory in Moscow at the height of the Cold War.

For 17 days, the young artists competed in what some have called the Olympics of piano-playing: the Van Cliburn International Piano Competition in Texas, one of classical music’s most prestigious contests.

On Saturday, the results were in: Pianists from South Korea, Russia and Ukraine prevailed in this year’s contest.

Among the winners are Yunchan Lim, 18, from Siheung, South Korea, who became the youngest gold medalist in the Cliburn’s history, winning a cash award of $100,000; Anna Geniushene, 31, who was born in Moscow, taking the silver medal (and $50,000); and Dmytro Choni, 28, of Kyiv, winning the bronze medal ($25,000).

“I was so tired,” Lim, who played concertos by Beethoven and Rachmaninoff in the final round, said in a telephone interview. “I practiced until 4 a.m. every day.”

“Texas audiences are the most passionate in the world,” he added.

Read more here.

The New York Times: Russian and Ukrainian Pianists Meet in Texas at Cliburn Competition

The New York Times
By Javier C. Hernández

The war in Ukraine looms over the prestigious contest named for the pianist Van Cliburn, who was a symbol for art transcending global politics.

FORT WORTH, Texas — On a sultry recent morning, 30 young pianists from around the world gathered in an auditorium at Texas Christian University here for the start of the Van Cliburn International Piano Competition, one of the most prestigious contests in classical music.

The mood was celebratory. But politics also loomed. The Cliburn, defying pressure to ban Russian competitors after the invasion of Ukraine, had invited six Russians to take part, as well as two pianists from Belarus, which has supported the Russian invasion. A Ukrainian also made the cut.

As they signed posters outside the auditorium and were fitted for cowboy boots, a Cliburn tradition, several competitors from those countries said that they found it difficult to think beyond the war.

Read more here.

Photo: Jake Dockins for The New York Times

International Piano: Yekwon Sunwoo at Portland Piano International

International Piano
James Bash

Sunwoo showed no signs of jetlag in his performance at Lincoln Concert Hall. His immaculate playing of Schubert’s Sonata in C minor D958 was filled with subtle nuances such as a slightly slow tempo for the recapitulation of a theme, which made it linger seductively. In the final Allegro he delivered a lightly rocking rhythm that became more demonstrative yet never overstated. The many hand-crossings were incisively executed, and the overall effect of the piece was emotionally satisfying.

Read the full review in International Piano‘s January/February 2018 issue, available digitally here.

BBC Music Magazine: Yekwon Sunwoo's Cliburn Gold 2017

BBC Music Magazine
Rebecca Franks

Cliburn Gold 2017 (4-star rating)

Superbly assured pianism from the recent winner of the Van Cliburn competition, sensitive in Haydn and full-blown in Ravel’s La Valse.

Miroirs CA: Interview with Yekwon Sunwoo

Miroirs CA

Soon after 28-year-old Yekwon Sunwoo won the 15th Van Cliburn International Piano Competition, Decca Gold released a recording of his performances at the competition called Cliburn Gold, which became number one on Billboard’s Traditional Classical Album charts.

Those who live streamed or attended this year’s Cliburn Competition were bowled over by Yekwon Sunwoo’s dynamic playing, as were the jury members who awarded him a gold medal with its built-in perks that include three years of concert tours in the US and at international venues and fashion threads - concert attire supplied by Neiman Marcus which is reason enough to practice hours a day for a chance to compete!

Over the next few seasons and beyond, Sunwoo will appear with high-profile groups such as Royal Scottish National Orchestra, Elbphilharmonie, National Orchestra of Cuba, and perform at Aspen Music Festival, Istanbul Music Festival, Klavier-Festival Ruhr and the Gewandhaus in Leipzig.

Sunwoo’s playing was center stage even before his participation in The Cliburn Competition as evidenced by his winning the 2015 International German Piano Award, 2014 Vendome Prize at Verbier Festival and 2012 William Kapell International Piano Competition. Already a seasoned performer, he has given recitals in South Korea, Europe, Costa Rica and appeared with major orchestras including the Houston Symphony, Baltimore Symphony, National Orchestra of Belgium.

He also concentrates on chamber music in collaboration with such artists as members of the Brentano and Jerusalem Strings Quartets, Ida Kafavian, Peter Wiley and released recordings with violinist Benjamin Beilman on the Warner Classics and Analekta labels.

He began piano studies in his native South Korea at age 8 and then relocated to the US in 2005 where he received a bachelor’s degree at The Curtis Institute of Music with Seymour Lipkin, a master’s degree at The Juilliard School with Robert McDonald and an artist diploma at the Mannes School of Music with Richard Goode. He currently studies with Bernd Goetzke in Hannover, Germany.

Yekwon Sunwoo talks about his career with Editor Leonne Lewis.

You studied in South Korea and at conservatories in the US. Have mentors of these schools influenced your approach to piano playing?

I feel extremely fortunate to have such wonderful teachers and they all share the same trait of being genuine and sincere musicians and warmhearted human beings. I am deeply saddened by Seymour Lipkin’s passing two years ago, but have fond memories of working with him at Curtis for six years beginning in 2005, when I was 16 years old. During the time I worked with him, I became more exposed to diverse music and he helped me open up my heart and play as if actually singing with my own voice.

After that, I went to Juilliard to work with Robert McDonald for two years. He has incredibly sensitive ears, which helped me become more attentive in listening to my own sound and the phrasing coming out as intended. Then, I went to study with Richard Goode at Mannes School of Music for two years. From time to time he would be away giving concerts, but whenever he was in town I would come to his house and play for him – and sometimes this went on for two or three hours.

He demonstrated a lot and it was sheer beauty to stand right next to him and hear him play, and I would feel as if I was reborn after each time. His whole life is faithfully dedicated to discovering the true intentions of each composer and I learned so much from him, like not taking every phrase each composer writes for granted.

In the Fall of 2016 I moved to Munich and currently study with Bernd Goetzke in Hannover. I’ve been working with him for just a year now but he has helped me to have more conviction in my music making and especially in shaping each phrase according to the requirements of the composer and understanding the whole structure in a more constructive way. I am forever grateful for guidance from all these teachers. They all made me love music even more deeply so that I can really bring out all emotions through piano playing.

You have won many international piano competitions. Does your approach change when playing for competitions or performing live concerts?

I believe strongly in not having a different thought process when performing in concerts or competitions. You are there to play your heart out and to share all kinds of emotions that are going through at every second of music making and hopefully convey them to audience members. The only difference might be in these two elements. First, you have to be even more focused and mentally strong when participating in a competition because you are under high pressure and there is the cruel fact that the announcement awaits after each round. Secondly, you are handling a huge amount of repertoire, so you need to understand your physical stamina and how to balance it all at once.

However, it is all about music making in the end and conveying your own interpretation with conviction. Seeking the composer’s intentions and putting all your endeavors into making the music come alive should be the main concern at all times.

Since winning The Cliburn Competition, what are some of your career and artistic goals?

Since I first started playing the piano when I was 8-years-old my ultimate dream has always been to become a concert pianist, travel all around the world and share all these feelings through music. Winning the 2017 Van Cliburn Competition has opened up a new chapter for me and this definitely helps my dream continue. I have a personal affinity towards German and Russian repertoire so I would like to focus more on this repertoire for now. Having performed works such as Mario Davidovsky’s Synchronisms No. 6 and Thomas Ades Traced Overhead, I would also like to explore more contemporary works that are not yet often played. After winning the Van Cliburn Competition, I know that the exciting musical journey will continue.

Fort Worth Business Press: Beyond the keyboard - Cliburn career management a key for winners

Fort Worth Business Press
Rick Mauch

June 3, 2017. Daniel Hsu of the United States performs with conductor Nicholas McGegan and the Fort Worth Symphony Orchestra Saturday during his concerto in the Semifinal round at The Fifteenth Van Cliburn International Piano Competition held at Bass Performance Hall in Fort Worth, Texas. (Photo Ralph Lauer)

There's a lot more to being a Cliburn winner than the prestige that goes with the title. As in other professions, much goes on behind the scenes to ensure a long and successful career as a pianist.

Beyond the prestige, cash prizes and hours of rehearsal, the medalists of the Van Cliburn International Piano Competition get the opportunity to launch careers as concert pianists through concert bookings, recordings and significant media exposure via the career management prize.

This year’s top three recipients of the prize will be in town this week for Cliburn Winners Week, which began Nov. 5. The three, who are here for mentoring workshops with industry professionals, are gold medalist Yekwon Sunwoo, silver medalist Kenny Broberg and bronze medalist Daniel Hsu.

"The 1997 Cliburn opened the door to a performing career that I wouldn’t have had otherwise," said Jon Nakamatsu, 1997 gold medalist. "My first appearance as the winner was three days after the award, and the touring has really never stopped. None of this would have been possible without the help and support of the Cliburn."

The Cliburn works closely with each medalist to give personalized mentoring and advice as he or she adjusts to a busy concert schedule and life as a public figure and begins to form long-term plans. It's all part of identifying extraordinary pianists with a clear artistic vision and giving them the platform to share their gifts, according to the organization.

"Since its beginning in 1962, the Cliburn has made concert bookings for its new winners a priority. Over the past 55 years, that program has grown into a comprehensive management program," said Jacques Marquis, Cliburn president and CEO.

Marquis noted that the career management prize includes financial and tax planning help, administrative and tour management support, media and public relations services, and other details that go beyond the 88 keys of the piano.

"Other competitions do provide concert tours or some of these services, but the Cliburn is known for its concentration on this kind of support and for opening the U.S. market for these artists in particular," he said.

The career management prize, including engagement fees the medalists will earn, is valued at over $1.5 million and includes:

*Over 200 concerts booked over three years across the United States (recital, chamber and orchestra);

*Partnership with London-based Keynote Artists Management for international management and concert bookings in Europe and Asia for the gold medalist;

*Internationally released recordings on Decca Gold;

*Complete public and media relations services: New York-based 8VA Music Consultancy for development of online presence (websites and social media) and assistance with media coaching, image consulting and publicity planning;

*International Advisory Council to provide a network of industry professionals who will be actively involved in career development; and

*Administrative services, including travel itineraries.

"First, our mission is to spread excellent classical music to as many people as possible and to discover and launch the careers of exceptional pianists," Marquis said. "We do that through the unprecedented exposure we offer them."

The 2017 competition webcast drew more than 5 million viewers in 170 countries over three weeks, Marquis said.

"But that is just one of the tools we use to achieve what all artists need to start a career. They need to play concerts," he said. "Each winner is a representative of the Cliburn. They are ambassadors performing for patrons all over the world. The more they get to play, and the more supported they are during that pivotal time in their careers, the better for them and the better for the Cliburn.

"Secondly, our career management program is key to attracting the best young pianists to come to the competition every four years. A competition is only as good as the artists taking part in it. The best of the best want to come to the Cliburn because they want the engagements. They want careers as concert artists."

The Cliburn provides individualized care for the three medalists during a three-year period. The idea is to help them develop artistically and to increase their awareness of what they want from their careers and what they need to do to get there.

Marquis said when most competitors come to the Cliburn, they are already considered professionals in that their primary source of income is playing the piano. Winning the Cliburn, though, takes their career to the next level.

"They have to be prepared to go out on the road directly after winning," he said. "They have to have already developed their repertoire extensively and also be mentally and emotionally ready for such a career."

Olga Kern, 2001 gold medalist, said that when she won the Cliburn competition, it was a dream come true. Once it became a reality, however, life got a lot busier, and she is still thankful for the career management prize.

"I got the life of a busy artist, with lots of concerts and opportunities to meet great musicians and collaborate with world-famous outstanding conductors," she said.

Marquis said the Cliburn also wants to instill a fundamental understanding of the more practical aspects of sustaining their careers, from self-promotion, which is vital in today’s digital age, to taking care of themselves and their bodies during grueling travel schedules.

"Our goal is to transition our three medalists to professional management firms within three years of winning the Cliburn. We want to jump-start their careers and open doors, but then we need to find the right fit for each of them with a permanent general manager and, in most cases, regional managers” in the United States, Europe, and/or Asia, he said.

"At a little over a year prior to each competition, we begin booking concerts for the winners of that upcoming competition, so it’s important that we have transitioned the previous winners by that time."