“The Korean music education system is making remarkable results worldwide that Europe should learn from it.”
Peter Paul Kainrath, President of the World Federation of International Music Competitions (WFIMC) since 2021, praised Korea’s music education system during an interview on Mar. 28. The federation comprises over 120 international music competitions, including the Chopin International Competition and the Van Cliburn International Piano Competition, where pianists Cho Seong-jin and Lim Yun-chan have previously won first prize, respectively.
Kainrath’s comments are not groundless. According to the federation’s statistics, South Korea boasts the highest number of winners, comprising 17 percent of 58 competitions, surpassing China, Italy, and the United States, each occupying nine percent. Even when considering first, second, and third places, South Korea leads (14%) ahead of China (12%), Russia (8%), and Japan (7%). Mr. Kainrath highlighted his previous organization of a symposium in Italy on the Korean music education system and further outlined four key reasons for the success of Korean musicians.
President of WFIMC first underscored a prevalent belief in Korea that musical success can serve as a “game changer” capable of transforming lives. He then pointed to the general decline of music education in Europe, noting the closure of orchestras, budget reductions, and diminished broadcasting. He expressed concern that an increasing number of European children are becoming unfamiliar with classical music composers like Beethoven or Mahler. Kainrath also mentioned the rapid advancement of information technology (IT) in Korea and the growing interest of the younger generation in music, saying, “Many younger generations in Korea easily encounter and enjoy classical music through new technologies.” Lastly, he cited the Asian educational culture, which emphasizes discipline, practice, and a clear sense of purpose. “In the digital age, where nearly every recording is accessible through electronic devices, audience expectations for performance are high, which is why it has become even more important to practice and get trained,” Kainrath said.
The professional pianist has been serving as the secretary general of the Ferruccio Busoni International Piano Competition, known for having Korean winners, including pianists Mun Ji-yeong in 2005 and Park Jae-hong in 2021.
Kainrath noted a time when Koreans faced difficulty attaining first place due to preconception. He then recounted an incident from the 2015 competition, when the chairman of the jury at that time, the legendary pianist Jörg Demus (1928-2019), had declared, “If Mun Ji-yeong does not receive first prize, I am going to walk out.” Kainrath said he was glad that the Busoni Competition was the first to take the initiative to dispel such racial prejudice. “It is important for 21st-century performers to be able to merge digital and live elements seamlessly. However, young performers must work hard not to lose their unique musical voice,” said Karinath, who leads the Klangforum Wien, an Austrian chamber orchestra specializing in contemporary classical music.
