Chopin Competition.

In 2005 Ingolf Wunder appears at the competition only after 6 years of playing the piano. He is widely acclaimed by the public, but for some of the jury members he is too extreme and too individual. He is being dropped out just before the finals. In 2010, five years later, he comes back. And he takes the competition by storm.


International Chopin Piano Competition in Warsaw, initiated in 1927, is the oldest and one of the few most important and most difficult piano competitions in the world. It's devoted entirely to the works of a single composer.
This is a brief history of some press excerpts from Ingolf Wunder's 2005 and 2010 competitions, focused solely on music...
WARSAW VOICE, SEPT. 2005

Different. Stands out.

The First Ballade in G Minor Op. 23 is completely different, although also originating in romantic poetry. Among several very good performances, Ingolf Wunder's interpretation decidedly stands out. It seems to refer to the best classical models, reinforced by the excellent, versatile piano technique.
CHOPIN EXPRESS NO. 8 (M. MAJCHROWSKI), SEPT. 2010

A triumphant return

Yesterday’s morning favourite was decidedly Ingolf Wunder. Five years ago he prematurely fell out of the running. Did he return to Warsaw to prove that it was unjustified? Probably, but that isn’t the point. He played wonderfully and with remarkable sensibility, incorporating a broad scale of musical expression. It’s hard to say what was most interesting in his performance: was it the artfully, discretely shaded agogically accented Ballade in F minor (he bravely began with this very work) or the beamingly delivered – light and breezy – Etude in G flat major, or was it the virtuously subtle Etude in G sharp minor or, finally, the fantastic Nocturne in B major? The latter only appears less complicated in its expression than the later Nocturnes. After all, the climax here is the formidable execution of the coda – and Wunder mastered it. It only requires that one reads into and interprets the piece accordingly. He managed to do just that!
CHOPIN EXPRESS NO. 14 (K. KOMARNICKI), SEPT. 2010

In his shadow

When I arrived at the Philharmonic Hall yesterday evening, everyone was still buzzing about Ingolf Wunder’s performance in the morning. The task set for the following four pianists was made all the more difficult. Before the evening auditions the rumour had begun: “Ingolf Wunder played very well this morning!” Then, during the intermission: “Ingolf Wunder was outstanding”, and after the end of the auditions: “Wunder was perfect!”... Young pianists get lost in the rhythms of the mazurka and oberek. Worse, no one could handle the waltzes. Does everyone only dance disco and salsa these days? Ingolf Wunder’s performance was a notable exception here. We can imagine why he knows how to play the waltz, since the Austrian admitted to knowing how to dance it; he deserves praise for noticing the magnificent minutiae in the mazurkas, their rhythm, charm, and melancholy. Has he, in fact, grasped a thread of Chopin’s cloak?
GAZETA WYBORCZA (J. HAWRYLUK), OCT. 2010

Wunder and who else?

Finals of the Chopin Competition.... When the strong candidate for the first prize Jewgienij Bozanov disappointed on Monday, everyone waited impatiently for Tuesday evening’s performance of Ingolf Wunder – the next contender after the Bulgarian to the Grand Prix. And it was worth waiting. Twenty five year-old Austrian from Klagenfurt, known from the previous 2005 Competition when he didn’t reach the finals, this time gave the performance of his life. He played e-minor concerto masterfully. He showed his a great technique, pianistic class, complete and well-controlled virtuosity. Although the most important is the fact that contrary to the rest of finalists he made a true dialogue with the orchestra. In the second movement ‘Romance. Larghetto’ he was simply encouraging the instrumentalists to play more emotionally, he glanced once at the violin direction, once at the bassoon direction as if he wanted to ask „please, make the music with me, not just accompany me”. Wunder’s Chopin was constructed excellently in Viennese manner and at the same time there was no lack of the virtuosity and the lightness of the style brillante. And his dreamlike piano – in several levels of intensity. This is how the early Chopin pieces, when he lived in Warsaw, should sound like – youthfully and freshly. Ingolf Wunder didn’t finish playing the last chords when the applause wave went through the hall. And then, as the only finalist he got a standing ovation. Interesting what does the jury think now?
DWÓJKA POLSKIE RADIO (A. GIERCZAK), OCT. 2010

The next triumph of Ingolf Wunder

"This performance will go to history of the Competition", said Marek Dyzewski about e-minor Concerto of the Austrian pianist interpretation.
WARSAW VOICE, SEPT. 2005

Eliminated.

One of the stars of the competition is an Austrian, Ingolf Wunder, who plays magically. But the jury eliminates him. Some criticised him for playing too fast. “The jurors were being petty,” complains Harasiewicz. “He filled me with ecstasy."
CHOPIN EXPRESS NO. 14 (J. ALLISON), SEPT. 2010

A morning of wonder and genius

Next up was Ingolf Wunder, another student of a jury member and previous laureate – Adam Harasiewicz. That patrician influence showed in the Austrian’s way with such elusive pieces as the G flat Impromptu and Op.24 Mazurkas, but he also disclosed his own musical maturity. The brilliant lightness of his A flat Waltz, Op. 34 No. 1, and utmost delicacy in the first part of the Andante spianato et Grande polonaise brilliante put them among the best performances of these works so far...It might be an exaggeration to call this a morning of “Wonder” and “Genius”, but these are names to watch.
CHOPIN EXPRESS NO. 16 (J. ALLISON), SEPT. 2010

A league of his own

Today, I believe without doubt that Ingolf Wunder is in a league of his own. His programme, in chronological order, was made up of the Rondo, Op. 5; the Bolero, Op. 19; the Sonata in B minor and the Polonaise-Fantaisie. He displayed a rich, elaborate pianistic palette. His style was wonderfully witty and sparkling. And then? My litanies could take up several columns, so perhaps I should simply say that one does not hear such thoughtful and convincing playing every day. He opened the Sonata in B minor with an epic Allegro, closed with a spectacular finale and then conjured up an unprecedented Polonaise-Fantaisie! It was a dream of dramatic and lyric perfection; a thousand elements combined towards the gigantic, terrifying climax. No one at this stage of the Competition had ever dared attempt this before... but Wunder pulled it off!
CHOPIN EXPRESS NO. 20 (T. CYŻ), SEPT. 2010

Wunderchopin!

Finally, it was Ingolf Wunder’s turn. He was the only pianist in the final who interacted with the orchestra: he led a dialogue, called on them to answer, pushed them up against the wall. And that unearthly piano of his, which quietened any flat note. You play the way your opponent lets you. Well then, play! Now we had piano, then rubato, and accelerando. We’re flowing, flowing! Romance. The Larghetto sounded nostalgic, sweet and bitter for a change. Finally, the finale – Rondo. Vivace. Now, you play to my dance. And if you don’t, the New York Philharmonic will, soon enough. Have I gone too far?
CHOPIN EXPRESS NO. 20 (J. ALLISON), SEPT. 2010

Poetry and emotion

Standing room filled up for Ingolf Wunder, indicating that he is now the audience’s favourite. It’s not hard to see why, and his E minor Concerto had authority right from the opening statement. Wunder has a way of capturing an audience’s attention with poetry and emotion; his playing is about sound, not just notes, and in that respect he was in a league of his own. The slow movement cast a spell like a bel canto aria, and the finale had Mozartian elegance and a dancing lightness that was never exaggerated. With the exception of Wunder, none of the finalists so far has been as exciting as in the earlier stages, sounding as if they are not free to give their best under the official weight of the Warsaw Philharmonic. Can that be right? Is there a case for creating a special competition orchestra?
Photos © NIFC
WARSAW VOICE, SEPT. 2005

Different. Stands out.

The First Ballade in G Minor Op. 23 is completely different, although also originating in romantic poetry. Among several very good performances, Ingolf Wunder's interpretation decidedly stands out. It seems to refer to the best classical models, reinforced by the excellent, versatile piano technique.
WARSAW VOICE, SEPT. 2005

Eliminated.

One of the stars of the competition is an Austrian, Ingolf Wunder, who plays magically. But the jury eliminates him. Some criticised him for playing too fast. “The jurors were being petty,” complains Harasiewicz. “He filled me with ecstasy."
CHOPIN EXPRESS NO. 8 (M. MAJCHROWSKI), SEPT. 2010

A triumphant return

Yesterday’s morning favourite was decidedly Ingolf Wunder. Five years ago he prematurely fell out of the running. Did he return to Warsaw to prove that it was unjustified? Probably, but that isn’t the point. He played wonderfully and with remarkable sensibility, incorporating a broad scale of musical expression. It’s hard to say what was most interesting in his performance: was it the artfully, discretely shaded agogically accented Ballade in F minor (he bravely began with this very work) or the beamingly delivered – light and breezy – Etude in G flat major, or was it the virtuously subtle Etude in G sharp minor or, finally, the fantastic Nocturne in B major? The latter only appears less complicated in its expression than the later Nocturnes. After all, the climax here is the formidable execution of the coda – and Wunder mastered it. It only requires that one reads into and interprets the piece accordingly. He managed to do just that!
CHOPIN EXPRESS NO. 14 (J. ALLISON), SEPT. 2010

A morning of wonder and genius

Next up was Ingolf Wunder, another student of a jury member and previous laureate – Adam Harasiewicz. That patrician influence showed in the Austrian’s way with such elusive pieces as the G flat Impromptu and Op.24 Mazurkas, but he also disclosed his own musical maturity. The brilliant lightness of his A flat Waltz, Op. 34 No. 1, and utmost delicacy in the first part of the Andante spianato et Grande polonaise brilliante put them among the best performances of these works so far...It might be an exaggeration to call this a morning of “Wonder” and “Genius”, but these are names to watch.
CHOPIN EXPRESS NO. 14 (K. KOMARNICKI), SEPT. 2010

In his shadow

When I arrived at the Philharmonic Hall yesterday evening, everyone was still buzzing about Ingolf Wunder’s performance in the morning. The task set for the following four pianists was made all the more difficult. Before the evening auditions the rumour had begun: “Ingolf Wunder played very well this morning!” Then, during the intermission: “Ingolf Wunder was outstanding”, and after the end of the auditions: “Wunder was perfect!”... Young pianists get lost in the rhythms of the mazurka and oberek. Worse, no one could handle the waltzes. Does everyone only dance disco and salsa these days? Ingolf Wunder’s performance was a notable exception here. We can imagine why he knows how to play the waltz, since the Austrian admitted to knowing how to dance it; he deserves praise for noticing the magnificent minutiae in the mazurkas, their rhythm, charm, and melancholy. Has he, in fact, grasped a thread of Chopin’s cloak?
CHOPIN EXPRESS NO. 16 (J. ALLISON), SEPT. 2010

A league of his own

Today, I believe without doubt that Ingolf Wunder is in a league of his own. His programme, in chronological order, was made up of the Rondo, Op. 5; the Bolero, Op. 19; the Sonata in B minor and the Polonaise-Fantaisie. He displayed a rich, elaborate pianistic palette. His style was wonderfully witty and sparkling. And then? My litanies could take up several columns, so perhaps I should simply say that one does not hear such thoughtful and convincing playing every day. He opened the Sonata in B minor with an epic Allegro, closed with a spectacular finale and then conjured up an unprecedented Polonaise-Fantaisie! It was a dream of dramatic and lyric perfection; a thousand elements combined towards the gigantic, terrifying climax. No one at this stage of the Competition had ever dared attempt this before... but Wunder pulled it off!
GAZETA WYBORCZA (J. HAWRYLUK), OCT. 2010

Wunder and who else?

Finals of the Chopin Competition.... When the strong candidate for the first prize Jewgienij Bozanov disappointed on Monday, everyone waited impatiently for Tuesday evening’s performance of Ingolf Wunder – the next contender after the Bulgarian to the Grand Prix. And it was worth waiting. Twenty five year-old Austrian from Klagenfurt, known from the previous 2005 Competition when he didn’t reach the finals, this time gave the performance of his life. He played e-minor concerto masterfully. He showed his a great technique, pianistic class, complete and well-controlled virtuosity. Although the most important is the fact that contrary to the rest of finalists he made a true dialogue with the orchestra. In the second movement ‘Romance. Larghetto’ he was simply encouraging the instrumentalists to play more emotionally, he glanced once at the violin direction, once at the bassoon direction as if he wanted to ask „please, make the music with me, not just accompany me”. Wunder’s Chopin was constructed excellently in Viennese manner and at the same time there was no lack of the virtuosity and the lightness of the style brillante. And his dreamlike piano – in several levels of intensity. This is how the early Chopin pieces, when he lived in Warsaw, should sound like – youthfully and freshly. Ingolf Wunder didn’t finish playing the last chords when the applause wave went through the hall. And then, as the only finalist he got a standing ovation. Interesting what does the jury think now?
CHOPIN EXPRESS NO. 20 (T. CYŻ), SEPT. 2010

Wunderchopin!

Finally, it was Ingolf Wunder’s turn. He was the only pianist in the final who interacted with the orchestra: he led a dialogue, called on them to answer, pushed them up against the wall. And that unearthly piano of his, which quietened any flat note. You play the way your opponent lets you. Well then, play! Now we had piano, then rubato, and accelerando. We’re flowing, flowing! Romance. The Larghetto sounded nostalgic, sweet and bitter for a change. Finally, the finale – Rondo. Vivace. Now, you play to my dance. And if you don’t, the New York Philharmonic will, soon enough. Have I gone too far?
CHOPIN EXPRESS NO. 20 (J. ALLISON), SEPT. 2010

Poetry and emotion

Standing room filled up for Ingolf Wunder, indicating that he is now the audience’s favourite. It’s not hard to see why, and his E minor Concerto had authority right from the opening statement. Wunder has a way of capturing an audience’s attention with poetry and emotion; his playing is about sound, not just notes, and in that respect he was in a league of his own. The slow movement cast a spell like a bel canto aria, and the finale had Mozartian elegance and a dancing lightness that was never exaggerated. With the exception of Wunder, none of the finalists so far has been as exciting as in the earlier stages, sounding as if they are not free to give their best under the official weight of the Warsaw Philharmonic. Can that be right? Is there a case for creating a special competition orchestra?
DWÓJKA POLSKIE RADIO (A. GIERCZAK), OCT. 2010

The next triumph of Ingolf Wunder

"This performance will go to history of the Competition", said Marek Dyzewski about e-minor Concerto of the Austrian pianist interpretation.
Photos © NIFC
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