The Nineteenth International Fryderyk Chopin Piano Competition
Official poster
Date	23 April – 4 May 2025 (2025-04-23 –2025-05-04) (preliminary round) 2–23 October 2025 (2025-10-02 –2025-10-23) (main stage)
Venue	National Philharmonic,Warsaw, Poland
Hosted by	Fryderyk Chopin Institute
Winner	Eric Lu
Website	chopincompetition.pl/en
← 18th · Chopin Competition

TheXIX International Chopin Piano Competition (Polish:XIX Międzynarodowy Konkurs Pianistyczny im. Fryderyka Chopina) was held from 2 to 23 October 2025 inWarsaw, Poland.

The 2025 competition marked the beginning of theInternational Chopin Piano Competition's centenary celebrations and drew a record 642 applicants. Following a preliminary round, in which 162 candidates were selected to perform, 85 pianists were admitted to the main stage, including 19 prize-winners of other major piano competitions who qualified directly. The competition proceeded through three solo stages, after which eleven pianists advanced to the final. For the first time, finalists were required to perform thePolonaise-Fantaisie, Op. 61, in addition to one of Chopin'stwo piano concertos with theWarsaw Philharmonic Orchestra.

The competition was won byEric Lu of the United States, withKevin Chen of Canada taking second place andZitong Wang of China third. The jury's verdict was met with some surprise by commentators, as no clear frontrunner had emerged during the competition, in contrast to previous editions. Jury chairmanGarrick Ohlsson noted that the deliberations had been long and difficult.

TheChopin Competition is considered Poland's most important musical event and one of the most prestigious piano competitions in the world. Commentators have described the event as the "Olympics of the piano world";^[1][2][3] Joshua Barone ofThe New York Times wrote that victory can be "just as glorious as agold medal".^[1][4] The competition generates a nationwide cultural phenomenon described as "Chopin-mania";^[3] according to the Chopin Institute, tickets released online in October 2024 sold out within 30 minutes, with those for the finals selling out in two minutes.^[5] This demand extended to the box office, with hundreds of people queuing for hours, often from before 5 a.m., for a limited number of standby tickets to the daily auditions.^[6] Jury memberNelson Goerner described the public's engagement as a "kind of national passion", asking, "where else would people queue for hours to hear a dozen pianists perform the same waltz?"^[3]

Pianists born between 1995 and 2009 were eligible to participate.^[4] A record number of 642 pianists applied for the 2025 edition, whichFryderyk Chopin Institute DirectorArtur Szklener characterized as a sign of both the expanding pool of excellent pianists and the increasing difficulties talented musicians face in forging careers in a commercialized market.^[7]Wojciech Grzędziński [pl], who has served as the competition's official photographer since 2005, noted a significant shift in the profile of the participants. He observed that while competitors in 2005 were often at the very beginning of their careers, the pianists in recent editions are "young professionals" who arrive with established careers and use the competition to "consolidate" their standing in the classical music world.^[8] The competitor pool also reflected a notable geographical shift, with Asian pianists being particularly prominent in the 2025 edition.^[2]

The 2025 edition held special significance as it marked the beginning of the competition's centenary celebrations. The official 100th anniversary falls in 2027, but the Fryderyk Chopin Institute initiated a five-year series of events and projects that began on 2 October 2025 and will culminate with the 20th edition in 2030.^[9][10] Director Artur Szklener said the competition represented "a century of musical heritage, a galaxy of the most outstanding pianists of the twentieth and twenty-first centuries, but also a completely new social phenomenon: a sort of nationwide celebration of Chopin's music".^[7]

The centenary prompted a number of accompanying events that transformed Warsaw into a city-wide celebration of the composer. Initiatives included "music lover zones" (strefy melomana) where audiences could watch live broadcasts; over 30 establishments creating special Chopin-themed menus, desserts, and cocktails; a multimedia laser show set to Chopin's music at thePolish Army Stadium; jazz concerts atChopin's birthplace inŻelazowa Wola; and a new film,Chopin, a Sonata in Paris, which premiered at theGdynia Film Festival. Numerous exhibitions were held across the city, including an immersive experience titled "Romantic Chopin", outdoor displays of archival photographs, and a temporary exhibition at theFryderyk Chopin Museum organized in collaboration with theMusée de la Vie romantique in Paris.^[9] Further plans for the 2027 anniversary include a festival in Warsaw featuring past prize-winners, concerts around the world, and a Global Chopin Gala of interconnected concerts spanning time zones from Tokyo to Vancouver.^[7]

The 2025 competition was the first held since the2022 Russian invasion of Ukraine. Organizers announced that Russian pianists would be admitted only as "individual neutral pianists", a policy the Chopin Institute compared to that forathletes at the Paris Olympics. Participants from Russia were also required to sign a statement condemning the violation of international law. Two pianists,Philipp Lynov and Andrey Zenin, were admitted under these conditions.^[5]

An international competition organized by theFryderyk Chopin Institute and theAcademy of Fine Arts in Warsaw selected the poster design for promoting the competition. Fifteen artists submitted a total of 30 entries. The jury, consisting ofBłażej Ostoja Lniski [pl], Prot Jarnuszkiewicz,Mieczysław Wasilewski, and Artur Szklener, awarded the 40,000 złoty (US$10,000) prize to Marcin Władyka. All submitted poster designs were exhibited from 1 to 31 October 2025 at the Academy'sCzapski Palace.^[11]

The preliminary stage was held from 23 April to 4 May 2025 in the Chamber Music Hall of theNational Philharmonic in Warsaw. Participants were required to perform the following works:^[12]

Ultimately, 642 pianists applied to the competition. Of these, 162 contestants from 28 countries were selected to perform in the preliminary stage, with the jury admitting 66 to the main stage. They were joined by an additional 19 pianists who qualified directly to the main stage by winning major piano competitions.^[13][14] Szklener commented on the exceptionally high and even artistic level of the participants in the preliminary round, stating that the jury found it difficult to make selections from what he described as an "exceptional generation of young artists" from around the world.^[15]

Competitors of the preliminary round^[16]

Competitor	Country	Result
Masaharu Kambara	Japan
Masaya Kamei	Japan
Uladzislau Khandohi	Belarus
David Khrikuli	Georgia	To Stage I
Hayoung Kim	South Korea
Jeonghwan Kim	Germany
Jiin Kim	South Korea
Junhyung Kim	South Korea
Sunah Kim	South Korea
Sakurako Kita	Japan
Elizaveta Kliuchereva	Individual neutral pianist Germany
Antoni Kłeczek	United States Poland	To Stage I
Pavle Krstić	Bulgaria Serbia
Shushi Kyomasu	Japan	To Stage I
Ariya Laothitipong	Thailand
Gichang Lee	South Korea
Kwanwook Lee	South Korea	To Stage I
Bowen Li	China
Luwangzi Li	China	To Stage I
Tianyou Li	China	To Stage I
Xiaoxuan Li	China	To Stage I
Xinjie Li	China
Zhexiang Li	China	To Stage I
Juhee Lim	South Korea
Hao-Wei Lin	Taiwan	To Stage I
Yanan Liu	China
Ziyu Liu	China
Jiaqing Luo	China
Zheng Luo	China
Tianyao Lyu	China	To Stage I
Zhiqian Lyu	China
Julia Łozowska	Poland
Tiankun Ma	China	To Stage I
Megumi Maekawa	Japan United States
Anastasiya Magamedova	United States Tajikistan
Iskandarkhon Mamadaliev	Uzbekistan
Xuanyi Mao	China	To Stage I
Gregory Martin	United States
Ruben Micieli	Italy	To Stage I
Nathalia Milstein	France	To Stage I
Maria Moliszewska	Poland
Yumeka Nakagawa	Japan	To Stage I
Yulia Nakashima	Japan South Korea	To Stage I
Fanze Yang	China	To Stage I
Juan Mas Choclán	Spain
Yuya Nishimoto	Japan	To Stage I
Anna Ojiro	Japan
Vincent Ong	Malaysia	To Stage I
Arisa Onoda	Japan	To Stage I
Wenyuan Pan	China
Chaelin Park	South Korea
Jinhyung Park	South Korea
Yehuda Prokopowicz	Poland	To Stage I
Tommaso Boggian	Italy
Yangyue Qin	China
Hao Rao	China	To Stage I
Ingrid Rodrigues Uemura	Brazil
Zuzanna Sejbuk	Poland	To Stage I
Efe Sen	Turkey
Hanwen Shi	China
Kotaro Shigemori	Japan
Jun Shimada	Japan	To Stage I
Hyojin Shin	South Korea
Miyu Shindo [pl]	Japan	To Stage I
Mana Shoji	Japan	To Stage I
Vitaly Starikov	Israel	To Stage I (Withdrew)
Gabriele Strata	Italy	To Stage I
Eva Strejcová	Czechia	To Stage I
Szu-Yu Su	Taiwan
Fansum Kenny Sun	China
Haolun Sun	China
Yutong Sun	China
Qianlin Tan	China
Nachuan Tao	China
Ziye Tao	China	To Stage I
Hao Tian	China
Shunshun Tie	China
Mateusz Tomica	Poland
Julian Trevelyan	United Kingdom
Vojtěch Trubač	Czechia
Eric Guo	Canada	To Stage I
Yubo Deng	China	To Stage I
Kiron Atom Tellian	Austria
Rikako Tsujimoto	Japan
Chun Lam U	Hong Kong	To Stage I
Liya Wang	China
Quanlin Wang	China
Ryan Wang	Canada	To Stage I
Yuhang Wang	China
Zitong Wang	China	To Stage I
Jan Widlarz	Poland	To Stage I
Kwan Chai Wong	Individual neutral pianist
Sze Yuen Wong	China
Victoria Wong	United States Canada	To Stage I
Maiqi Wu	China	To Stage I
Yifan Wu	China	To Stage I
Zihao Wu	China
Lingfei (Stephan) Xie	China
Kongyan Xin	China
Miki Yamagata	Japan	To Stage I
Ryota Yamazaki	Japan	To Stage I
Việt Trung Nguyễn	Vietnam Poland	To Stage I
Jiwon Yang	South Korea
Yuanfan Yang	United Kingdom	To Stage I
Jialin Yao	China
Adria Ye	United States
ZiRui Ye	China
Yoonji Yeo	South Korea
Sung Ho Yoo	South Korea
Jeong Hyun Yoon	South Korea
Bartłomiej Kokot	Poland
Yichen Yu	China	To Stage I
Yuewen Yu	China	To Stage I
Andrey Zenin	Individual neutral pianist	To Stage I
Jacky Xiaoyu Zhang	United Kingdom	To Stage I
Junzhe Zhang	China
Nathaniel Zhang	United States
Zhiqiao Zhang	China
Yuxuan Zhao	China
Yonghuan Zhong	China	To Stage I
Hanyuan Zhu	China	To Stage I
Shio Okui	Japan
Harmony Zhu	Canada
Jingting Zhu	China	To Stage I
Vladimir Aćimović	Serbia
Yuki Amako	Japan
Yanyan Bao	China	To Stage I
Michał Basista	Poland	To Stage I
Nicolas Bourdoncle	France
Simon Bürki	Switzerland
Michelle Candotti	Italy
Zhiqian Cen	China
Junho Cha	South Korea
Kai-Min Chang	Taiwan	To Stage I
Xuehong Chen	China	To Stage I
Hyo Lee	South Korea	To Stage I
Yanjun Chen	China
Yiyang Chen	China
Zixi Chen	China	To Stage I
Hoi Leong Cheong	China Portugal	To Stage I
Mariam Chitanava	Georgia
Hyena Cho	South Korea
Raphaël Collard	France
Diana Cooper	France United Kingdom	To Stage I
Athena Deng	Canada	To Stage I
Peida Du	China
YuAng Fan	China	To Stage I
Zhongjin Fang	China
Yang Gao	China
Yang (Jack) Gao	China	To Stage I
Inho Gi	South Korea
Shuguang Gong	China	To Stage I
Yiming Guo	China
Wei-Ting Hsieh	Taiwan	To Stage I
Xiaoyu Hu	China	To Stage I
Hasan Ignatov	Bulgaria	To Stage I
Ibrahim Ignatov	Bulgaria
Riko Imai	Japan
Hina Inazumi	Japan
Seika Ishida	Japan
Asaki Iwai	Japan
Hyun-Gyu Ji	South Korea
Zihan Jin	China	To Stage I

An additional 19 pianists qualified to the main stage directly by winning major piano competitions:^[13]

Competitors admitted directly into the main stage

Competitor	Country	Admission through
Piotr Alexewicz [pl]	Poland	2020 Polish Fryderyk Chopin National Piano Competition
Jonas Aumiller [de]	Germany	2024Hamamatsu International Piano Competition
Kevin Chen	Canada	2023Arthur Rubinstein International Piano Master Competition
Mateusz Dubiel	Poland	2025 Polish Fryderyk Chopin National Piano Competition
Alberto Ferro	Italy	2015Ferruccio Busoni International Piano Competition
Adam Kałduński [pl]	Poland	2020 Polish Fryderyk Chopin National Piano Competition
Kaito Kobayashi	Japan	2021Leeds International Piano Competition
Mateusz Krzyżowski [pl]	Poland	2022 International Paderewski Piano Competition
Shiori Kuwahara [ja]	Japan	2021Arthur Rubinstein International Piano Master Competition 2019Ferruccio Busoni International Piano Competition
Hyuk Lee [pl]	South Korea	2016 International Paderewski Piano Competition
Pedro López Salas [de]	Spain	2022 International Paderewski Piano Competition
Eric Lu	United States	2018Leeds International Piano Competition
Philipp Lynov	Individual neutral pianist	2019 International Paderewski Piano Competition
Piotr Pawlak	Poland	2020 Polish Fryderyk Chopin National Piano Competition
Anthony Ratinov	United States	2025 National Chopin Piano Competition of the USA 2023Ferruccio Busoni International Piano Competition
Tomoharu Ushida	Japan	2018Hamamatsu International Piano Competition
Andrzej Wierciński	Poland	2015 Polish Fryderyk Chopin National Piano Competition
Krzysztof Wierciński [pl]	Poland	2025 Polish Fryderyk Chopin National Piano Competition
William Yang	United States	2025 National Chopin Piano Competition of the USA

The main competition from 3 to 20 October consisted of three stages and a final. An inaugural concert was held on 2 October, and the prize-winners' concerts took place from 21 to 23 October.^[12]

The 2025 edition introduced a new system for determining the order of performances. In previous competitions, a single letter drawn by lot would set the alphabetical order for all stages. Citing scientific research on judging in international music competitions, organizers modified the procedure to address a potential disadvantage for those performing earliest. According to Szklener, jurors require time to establish an internal scale for the competition's artistic level, which can result in the first performances serving as a baseline and potentially receiving less precise or favorable evaluations. To ensure greater fairness, the starting letter for the performance order was advanced by six letters of the Latin alphabet for each successive stage, distributing the early performance slots more evenly among the participants.^[15]

Participants had to select a different program for each stage of the competition. The competition repertoire had to be played from memory and could be performed in any order. Contestants could not play the same piece twice in different stages of the competition, though they could perform pieces they performed in the preliminary round (except the first two etudes) in the main stage. Participants could use any available edition of Chopin's works, though theChopin National Edition is recommended.^[12]

The 2025 edition introduced thePolonaise-Fantaisie, Op. 61, as a required work in the final alongside the piano concerto. According to Szklener, while the piano concertos provide a virtuosic and grand conclusion, they were written early in Chopin's career and offer a limited view of his compositional style at a crucial decision-making stage of the competition. He described the Polonaise-Fantaisie as standing at the opposite pole from the brilliant idiom of the concertos, characterizing it as one of Chopin's last works with quasi-improvisational, dreamlike, and ethereal qualities, featuring harmonically ambiguous passages with almost impressionistic coloring, blurred polonaise rhythm, and an inverted formal structure in which the principal theme serves as the composition's goal rather than its starting point. Szklener said the juxtaposition allows finalists to present a fuller palette of pianistic means and enables jurors to assess their maturity, while the form of the Polonaise-Fantaisie allows for a cohesive artistic narrative in which it paves the way for the concerto, referencing the tradition of the improvised prelude.^[7]

Other program changes for 2025 included the addition of a waltz in the first round. Szklener noted that Chopin's waltzes require not just understanding but a profound sense of the gestures of couples on a dance floor. The change also enabled competitors to perform the complete set of 24Preludes, Op. 28, during the second round. While the complete set could have been played during the previous two competitions in the third round instead of a sonata, the 2025 rules restored the obligatory status of the sonata in the semifinal while extending the maximum duration of the second-round recital to 50 minutes. Szklener expressed satisfaction that 20 participants opted to perform the complete set of preludes, calling the preludes a genre in which Chopin combined references toBach with a modern compositional approach, investing miniature forms with diverse pianistic and emotional content while transferring architectural relations to the level of the set as a whole.^[7]

Participants could choose aSteinway,Yamaha,Kawai,Fazioli, or aC. Bechstein.^[17] The piano selection process took place from 29 September to 1 October. Each competitor had 15 minutes to make their choice, after which they had to commit to the instrument for the duration of the competition.^[18] To ensure a fair and transparent process, the instruments were periodically moved to different positions on stage to account for variations in the hall's acoustics.^[15]

The results of the competition were announced on the night of 20 October following lengthy deliberations by the jury. The first prize was awarded toEric Lu of the United States, who had previously won fourth prize at the 2015 competition. The second prize was awarded toKevin Chen of Canada, and the third prize toZitong Wang of China. The fourth prize was sharedex aequo between Tianyao Lyu of China andShiori Kuwahara of Japan. The fifth prize was also sharedex aequo betweenPiotr Alexewicz [pl] of Poland and Vincent Ong of Malaysia. The sixth prize was awarded to William Yang of the United States. The remaining three finalists received honourable mentions.^[19]

Prize		Winner
	€60,000	Eric Lu	United States
	€40,000	Kevin Chen	Canada
	€35,000	Zitong Wang	China
4th	€30,000	Tianyao Lyu [pl]	China
	€30,000	Shiori Kuwahara [ja;pl]	Japan
5th	€25,000	Piotr Alexewicz [pl]	Poland
	€25,000	Vincent Ong [pl]	Malaysia
6th	€20,000	William Yang [pl]	United States
F	€8,000	David Khrikuli [pl]	Georgia
	€8,000	Tianyou Li [pl]	China
	€8,000	Miyu Shindo [pl]	Japan

In addition to the main prizes, several special prizes were awarded for outstanding performances of specific genres. Tianyao Lyu received the prize for the best performance of a concerto. The prize for mazurkas was awarded to Yehuda Prokopowicz, who was eliminated after the third stage. The polonaise prize went to finalist Tianyou Li, and the sonata prize to third-prize winnerZitong Wang. A new prize for the best performance of a ballade, founded byDmitry Sitkovetsky in the name ofBella Davidovich, was awarded to Adam Kałduński, who was eliminated after the second stage.^[19]

Special prize		Founder	Winner
Best Performance of a Ballade	€7,000	Bella Davidovich	Adam Kałduński	Poland
Best Performance of a Concerto	€7,000	Warsaw Philharmonic	Tianyao Lyu	China
Best Performance of Mazurkas	€7,000	Polish Radio	Yehuda Prokopowicz	Poland
Best Performance of a Polonaise	€7,000	Fryderyk Chopin Society [pl]	Tianyou Li [pl]	China
Best Performance of a Sonata	€10,000	Krystian Zimerman	Zitong Wang	China

The official Audience Award, determined by a public poll held during the final stage, was won by Piotr Alexewicz of Poland. Vincent Ong of Malaysia placed second in the poll, and Tianyao Lyu of China placed third.^[20] In a separate poll conducted byPolskie Radio, listeners selected Piotr Pawlak of Poland as their favourite pianist. Tianyao Lyu of China and Shiori Kuwahara of Japan placed second and third, respectively.^[21]

Competitor results^[16]

No	Competitor			P	Stage I 3–7 October	Stage II 9–12 October	Stage III 14–16 October	Final 18–20 October
	Name	Age	Country		Result	Result	Result	Result
39	Eric Lu	27	United States	F				1
6	Kevin Chen	20	Canada	S				2
66	Zitong Wang	26	China	K				3
28	Shiori Kuwahara [ja]	29	Japan	S				4th
41	Tianyao Lyu	16	China	F				4th
1	Piotr Alexewicz [pl]	25	Poland	K				5th
50	Vincent Ong [pl]	24	Malaysia	K				5th
76	William Yang	24	United States	S				6th
24	David Khrikuli [pl]	24	Georgia	S
34	Tianyou Li [pl]	21	China	S
58	Miyu Shindo [pl]	23	Japan	S
16	Yang (Jack) Gao	21	China	K
18	Eric Guo	23	Canada	S
30	Hyo Lee	18	South Korea	K
31	Hyuk Lee	25	South Korea	S
35	Xiaoxuan Li	23	China	S
52	Piotr Pawlak	27	Poland	K
53	Yehuda Prokopowicz	19	Poland	S
64	Tomoharu Ushida	25	Japan	S
72	Yifan Wu	16	China	S
2	Jonas Aumiller	27	Germany	K
3	Yanyan Bao	18	China	S
5	Kai-Min Chang	24	Taiwan	S
7	Xuehong Chen	25	China	S
8	Zixi Chen	23	China	K
12	Yubo Deng	23	China	S
20	Xiaoyu Hu	20	China	F
22	Zihan Jin	16	China	K
23	Adam Kałduński	29	Poland	F
32	Kwanwook Lee	29	South Korea	Y
36	Zhexiang Li	19	China	S
40	Philipp Lynov	26	INP	S
44	Ruben Micieli	28	Italy	S
45	Nathalia Milstein	30	France	S
46	Yumeka Nakagawa	23	Japan	K
54	Hao Rao	21	China	S
55	Anthony Ratinov	27	United States	S
60	Gabriele Strata	26	Italy	S
73	Miki Yamagata	23	Japan	K
81	Jacky Zhang	17	United Kingdom	S
4	Michał Basista	21	Poland	K
9	Hoi Leong Cheong	25	China,Portugal	Y
10	Diana Cooper	28	France,United Kingdom	S
11	Athena Deng	22	Canada	K
13	Mateusz Dubiel	21	Poland	S
14	YuAng Fan	20	China	S
15	Alberto Ferro	29	Italy	Y
17	Shuguang Gong	27	China	S
19	Wei-Ting Hsieh	29	Taiwan	S
21	Hasan Ignatov	21	Bulgaria	S
25	Antoni Kłeczek	18	United States,Poland	S
26	Kaito Kobayashi	29	Japan	Y
27	Mateusz Krzyżowski	26	Poland	Y
29	Shushi Kyomasu	29	Japan	Y
33	Luwangzi Li	17	China	K
37	Hao-Wei Lin	21	Taiwan	S
38	Pedro López Salas	27	Spain	F
42	Tiankun Ma	18	China	B
43	Xuanyi Mao	29	China	S
47	Yulia Nakashima	15	Japan,South Korea	B
48	Việt Trung Nguyễn	29	Vietnam,Poland	F
49	Yuya Nishimoto	23	Japan	K
51	Arisa Onoda	29	Japan	S
56	Zuzanna Sejbuk	20	Poland	F
57	Jun Shimada	20	Japan	Y
59	Mana Shoji	28	Japan	K
61	Eva Strejcová	25	Czechia	Y
62	Ziye Tao	20	China	F
63	Chun Lam U	23	Hong Kong	S
65	Ryan Wang	18	Canada	S
67	Jan Widlarz	23	Poland	K
68	Andrzej Wierciński	29	Poland	S
69	Krzysztof Wierciński	22	Poland	S
70	Victoria Wong	28	United States,Canada	Y
71	Maiqi Wu	21	China	K
74	Ryota Yamazaki	26	Japan	S
75	Fanze Yang	16	China	K
77	Yuanfan Yang	28	United Kingdom	F
78	Yichen Yu	23	China	S
79	Yuewen Yu	24	China	K
80	Andrey Zenin	30	INP	K
82	Yonghuan Zhong	20	China	S
83	Hanyuan Zhu	20	China	F
84	Jingting Zhu	23	China	S

The competition opened on 2 October with an inaugural concert by theWarsaw Philharmonic Orchestra under the direction ofAndrey Boreyko. The program framed Chopin's music with works by composers connected to him:Johann Sebastian Bach,Camille Saint-Saëns, andFrancis Poulenc. The concert began withGrzegorz Fitelberg's arrangement of Chopin'sPolonaise in A major, Op. 40 No. 1 for orchestra. The 2021 winner,Bruce Liu, performed Saint-Saëns'sPiano Concerto No. 5. JurorsGarrick Ohlsson (1970 winner) andYulianna Avdeeva (2010 winner) performed Poulenc'sConcerto for Two Pianos. The evening concluded with Liu, Ohlsson, and Avdeeva being joined by fellow juror and 1980 winnerĐặng Thái Sơn for Bach'sConcerto for Four Pianos, a performance music critic John Allison hailed as a "moment of pianistic history".^[22]

Stage I of the competition took place from 3 to 7 October. Eighty-four pianists each performed a recital of approximately 30 minutes, which included a required étude, nocturne, waltz, and a large-scale work (a ballade, theBarcarolle, or theFantaisie in F minor).^[23] Reviewers noted the challenge for the first participants in setting the standard for the competition, with Jakub Puchalski of theChopin Courier observing that listeners' expectations are often shaped by recordings of past masters.^[24]

On the first day, 3 October,Ryan Wang drew significant praise, with Jed Distler ofGramophone calling his performance the "most striking impression" of the day and a "masterclass in how to contour Chopin's polyphony".^[23] Puchalski also commended Wang for "convincingly gauging the drama" of his nocturne.^[24]Jan Widlarz was noted by multiple outlets; reviewers forPolskie Radio found his performance reliably and professionally prepared, though perhaps staying "within a safe zone",^[25] while Mateusz Ciupka of the Polish music magazineRuch Muzyczny [pl] praised his "retro" style as a continuation of the "old, good Polish school of playing Chopin".^[26] Tomoharu Ushida was highlighted by Ciupka as a "pianist of perfect balance" in every musical aspect.^[26] Other notable performers included Miki Yamagata, praised by Distler for her "communicative energy",^[23] and Victoria Wong, who reviewers from bothGramophone andPolskie Radio noted gave a solid and well-prepared recital on her return to the competition.^[23][27]

On the second day, 4 October,Kevin Chen received exceptional reviews, with Marcin Gmys of theChopin Courier calling him "the greatest among them", highlighting hisFantaisie in F minor,^[28] and Distler describing his playing as "unambiguously transcendental virtuosity on every level".^[29] Gmys also identified him as one of the top contenders for the gold medal.^[30] At 17, Jacky Zhang impressed reviewers with his maturity; Distler praised his inventive voicings,^[29] Łucja Siedlik of theChopin Courier noted he "breathed life into the music",^[31] andPolskie Radio commended his sense of timing.^[32] Yanyan Bao was described by Distler as a "rare breed" for her ability to project strong ideas,^[29] whilePolskie Radio called her a "master of subtlety and poetic mood".^[33] Piotr Alexewicz also received positive notices for being in "stellar form",^[29][31] with Gmys later highlighting his "superbly constructed" Fantaisie and calling him a potential finalist.^[30]

On 5 October, 16-year-old Zihan Jin was called "the real deal" and a "remarkable talent" by Distler for his "ravishingly contoured" playing.^[34] Eric Guo's interpretation was noted for its unique qualities; Distler found his playing "stimulating and refreshing", attributing his lean textures to experience with period instruments,^[34] while Anna Chęćka ofRuch Muzyczny praised his masterful use of piano resonance and polyphony.^[35] Gmys considered Guo a frontrunner aiming for a "Chopin Grand Slam" after his 2023 victory at the Chopin Competition on Period Instruments.^[30] Shiori Kuwahara's recital was hailed by Monika Pasiecznik ofRuch Muzyczny as the "culmination of the entire day," praising her monumental sound and a Ballade in F minor that synthesized her many strengths.^[26] Yang Gao delivered what Distler called a "strong and memorable set" and Siedlik an "excellent, evenly balanced performance".^[34][36] Adam Kałduński was described as an individualist,^[34][37] with Pasiecznik noting his deep, personal tone and Chęćka praising his artistic maturity.^[26][35]

On 6 October, established artist and returning prize-winnerEric Lu demonstrated what Distler called "formidable mastery".^[38] Both Gmys and Chęćka questioned his decision to return, calling it a risky move that could harm his established career.^[39][35] Sixteen-year-old Tianyao Lyu's performance was a highlight, with Gmys calling it a "near revelatory moment" and praising her "dazzling"'Double Thirds' Etude.^[39] Chęćka described her as a "serious talent",^[35] while Distler found herBarcarolle "heartfelt, elegant and proportioned".^[38]Nathalia Milstein delivered one of the "most consistently satisfying presentations" of the first stage, according to Distler, and Ruben Micieli was praised for communicating the influence ofbel canto on Chopin's music.^[38]

On the final day of auditions, 7 October, the competition's youngest participant, 15-year-old Yulia Nakashima, delivered a performance where Klaudia Baranowska of theChopin Courier noted her "impressive technical prowess",^[40] and Distler pointed to her "remarkable command" and natural musicality.^[41] Yehuda Prokopowicz was praised by Baranowska for his "refined, poetical sound" and "huge artistic potential",^[40] while Distler found his Fantasy reminiscent of "Van Cliburn in his prime".^[41]Anthony Ratinov's performance was noted by Distler for its "sharpened focus",^[41] and by Dorota Szwarcman of theChopin Courier for excelling in technique and structure.^[42] Gabriele Strata was described as a strong personality with a narrative style,^[41][42][43] with Ciupka comparing his powerful bass sound to that of an "organist in the guise of a pianist".^[26] Returning finalist Hao Rao was seen to have matured since the 2021 competition.^[41][42]

Following the conclusion of Stage I, the jury announced that 40 participants would advance to the second stage.^[44] The results were met with some surprise, with Gmys noting the "very strong" impression that the competition was "ruled by chance" due to the elimination of strong contenders such as Mateusz Dubiel, Wei-Ting Hsieh, and Yulia Nakashima.^[30] The Polish representation was reduced from 13 to four,^[26] while pianists from China formed a significant contingent, with 14 of the 29 Chinese participants advancing.^[30]

Stage II of the competition took place from 9 to 12 October. Participants were required to perform a recital of 40 to 50 minutes, which had to include one of several specified polonaises and a group of six consecutive preludes fromOp. 28, with the option to perform the entire cycle.^[45]

On the first day, 9 October,Kevin Chen's performance of the completeÉtudes, Op. 10, a first for the competition, drew significant attention. Gmys wrote that the audience was "watching history unfold live",^[46] and commentators forPolskie Radio compared his technical and expressive command favorably to that ofBruce Liu andYunchan Lim.^[47] Mateusz Ciupka ofRuch Muzyczny noted his performance, "devoid of technical limitations," allowed the works to shine as musically rich miniatures.^[48] Distler noted Chen's "superhuman virtuoso display" but questioned if the music was sometimes lost "underneath the stunt".^[45] Yanyan Bao received universal acclaim; Distler called her "humanly super" and praised her for conveying "maturity beyond her 18 years", while Klaudia Baranowska of theChopin Courier found her a "pianist of great artistic maturity, and deep sensitivity".^[49]Polskie Radio commentators were "delighted" by her playing, noting her "sparks of imagination".^[50] Yang Gao's performance of the complete Op. 28 Preludes was praised by Distler as "consistently satisfying", while Gmys noted that "ideas danced off every page".^[45][46] Piotr Alexewicz's interpretation of the same cycle drew divided responses: Distler was "largely disappointed",^[45] whereas Baranowska praised his "more personal and thoughtful vision" and Ciupka highlighted its "cohesive and dark" quality.^[49][48]Polskie Radio also deemed his performance successful.^[50]Jonas Aumiller [de] was noted for his "thoughtful, intellectual approach" to programming and what Distler called his "reserved Classicism", though reviewers forPolskie Radio found hisPolonaise in F-sharp minor lacked an "oneiric" quality.^[45][50] Zixi Chen was lauded by Distler for his "dazzling fireworks display" in theRondo in C minor, which Gmys also found "refreshing".^[45][46]

On the second day, 10 October, the morning session was met with reservations from reviewers; commentators forPolskie Radio described it as a "great series of doubts", and Dorota Szwarcman of theChopin Courier felt the Preludes performances did not reach the level of the previous day.^[51][52] Despite this, individual pianists drew praise. Eric Guo was commended for his mazurkas, with Distler writing that they "truly 'mazurked'".^[53] Distler also noted David Khrikuli's improvisatory style and Adam Kałduński's "thoughtful, unhurried interpretations".^[53] The evening session featured a standout performance byShiori Kuwahara, whom Distler described as demonstrating "big, Romantic pianism" and whoseA-flat Polonaise he felt Arthur Rubinstein "would have been proud" of.^[53] Puchalski also credited her with one of the competition's finest interpretations of theBarcarolle.^[54] Tianyou Li was called the "pleasant surprise of the day" byPolskie Radio for his performance of theSonata No. 1.^[55] Returning competitorHyuk Lee was seen by Puchalski to have matured since 2021,^[54] and Krzysztof Stefański ofRuch Muzyczny praised his lyrical and dramatic performance, positioning him as a podium contender.^[48] Distler, however, maintained his earlier opinion that Lee's playing, while technically proficient, "doesn't ever surprise you".^[53]

On 11 October, returning prize-winnerEric Lu received mixed reviews for his performance of the"Funeral March" Sonata. Distler praised his "utterly mesmerising" third movement but found other parts "sectionalised",^[56] commentators forPolskie Radio questioned his program choices and felt he had not recaptured the "subtle poet" quality of his 2015 performance,^[57] and Gmys described his sonata as "heavy and indigestible".^[58] In contrast,Nathalia Milstein received strong praise for her complete Preludes cycle, with Puchalski noting her traditional approach and clear pedaling, and Distler admiring the "transparency and sinew" of her playing.^[59][56] Ciupka highlighted her ironic and unconventional interpretations.^[48] Distler also called Ruben Micieli's performance a "glorious concert",^[56] while Ciupka noted his construction of a "highly personal, funereal requiem" from Chopin's works.^[48] Zhexiang Li delivered what Distler described as "one virtuoso knockout after another", including a "demonic"Scherzo No. 3.^[56] Tianyao Lyu impressed Szwarcman with her "impeccable technique, humour and charisma", while Xiaoxuan Li's Preludes were described by Distler as "jewels".^[56][60] Other notable performances included that ofPiotr Pawlak, whoseAllegro de concert was described as "symphonic" byPolskie Radio, and Yumeka Nakagawa and Vincent Ong, who both received positive notices for their renditions of the complete Preludes cycle.^[56][59][61]

On the final day of Stage II, 12 October, William Yang gave a performance that Distler felt "obliterated whatever reservations" he had from the first stage, praising his interpretation as one that "avoids clichés, while embracing the modern piano's sonic and expressive potential".^[62] Pasiecznik hailed his unique and consistent vision, stating that he revealed a "new, separate Chopin" to the listener.^[48] Chęćka later categorized his style as "Apollonian", describing him as a "humble virtuoso" whose restrained approach created a "profound beauty".^[63] Gabriele Strata's recital was highlighted by Baranowska as "one of the most moving moments in the morning session", with a performance of the rarely-heardBoléro that combined "rhythmic precision with engaging freedom".^[64] Distler also praised Strata's "fusion of meticulous workmanship, recreative fantasy and obsession with beautiful sound", likening it to that ofIvan Moravec.^[62] Yehuda Prokopowicz was lauded for his "poetic" playing and "original" interpretations byPolskie Radio, and Baranowska was particularly impressed by his "well-conceived" performance of theOp. 17 Mazurkas.^[64][65]Zitong Wang garnered attention for her eclectic program and what Gmys called a "courageous" and sensitive interpretation, whileTomoharu Ushida was noted for his "splendid playing, with lovely tone".^[66]

Following the conclusion of Stage II, the jury announced that 20 participants would advance to the third stage.^[67] Distler expressed regret over the elimination of Yanyan Bao and Gabriele Strata, but noted that David Khrikuli, William Yang, and Vincent Ong had showcased themselves to "far better advantage" in the second stage, likely factoring into their advancement.^[68] Chęćka suggested that Khrikuli's advancement signaled the jury's openness to more "Dionysian", or controversial, performers,^[63] while Gmys highlighted Piotr Pawlak's success with the rarely playedAllegro de concert and Tianyao Lyu's "gigantic talent".^[58] Gmys concluded by observing that no modern competitor attempted to emulate the style of "golden era" masters likeRachmaninoff orRubinstein, a trend he attributed to the pragmatic expectations of modern juries.^[58]

Stage III of the competition took place from 14 to 16 October. The 20 remaining participants were required to perform a recital of 45 to 55 minutes, which included one of Chopin's two mature piano sonatas (Op. 35 orOp. 58) and a complete opus of mazurkas.^[69] Reviewers noted that the sonatas, in particular, proved to be a significant hurdle for many participants, with Mateusz Ciupka ofRuch Muzyczny observing that several acclaimed pianists struggled with the technical and structural demands of the large-scale works.^[70]

On the first day, 14 October, Yang Gao opened the stage with a performance Distler described as "world-class perfection", while commentators forPolskie Radio noted that he "operated more with color than tempo".^[69][71] Eric Guo was called the "most intriguing and complete interpretation of the session" by Puchalski, with Distler praising his "eloquent" and "poetic" playing, particularly in the mazurkas.^[69][72] David Khrikuli's performance was hailed byPolskie Radio as a historic moment: "We were witnesses to something great. Something like this happens... once every few Competitions".^[71] Distler also praised his sonata, likening its "mastery of timescale" to that ofEmil Gilels,^[69] while Stefański noted he excelled in capturing both the "ludic and salon" qualities of the mazurkas.^[70]Shiori Kuwahara drew conflicting reviews; Dorota Szwarcman of theChopin Courier called her "a name to reckon with", and Distler praised her "healthy and generous" interpretations,^[69][73] butPolskie Radio found her playing "forceful" and her mazurkas "one-dimensional".^[74] Chęćka later identified her as an "ideal candidate for gold", an artist whose playing "transcends stereotypes".^[75] Tianyou Li was a "surprise" for Szwarcman, who called his sonata the "most expressive of the evening" and hisVariations, Op. 2, "no less captivating thanBruce Liu's".^[73] Hyo Lee andHyuk Lee both delivered what Szwarcman deemed "excellent performances", though Distler gave a more critical assessment, calling Hyo's recital "uneven" and Hyuk's sonata a "blunt and blustering non-event".^[69][73]

On 15 October, the day's schedule was altered afterEric Lu postponed his performance due to illness.^[76] Xiaoxuan Li was praised by Baranowska for the "lyricism and sound sensitivity" of his mazurkas, while Distler noted his gifts as a "tone painter", though he found the pianist's expressive gestures "somewhat deflated the music's continuity" in the sonata.^[77][76]Polskie Radio commentators also described him as a "cultured, refined pianist" of "great restraint".^[78] The 16-year-old Tianyao Lyu's performance elicited differing responses; Baranowska praised her "astonishing" maturity and a "consistently developed, suspenseful narrative" in the sonata,^[76] while Chęćka found the performance a moving experience, describing Lyu as a "messenger of musical mystery" and her choice to end with theBerceuse after the sonata's darkness as a profound "gesture of comfort".^[75] Distler and commentators forPolskie Radio, however, felt her interpretation was not yet fully personalized, with the latter noting she had trouble "getting out of a certain corset that she was constrained by".^[77][78] Vincent Ong's recital sharply divided critics. Puchalski called his sonata a "revelation" that "unfolded through stark contrasts",^[79] whereas commentators forPolskie Radio were highly critical, calling his playing "mechanical" and questioning the jury's decision to advance him.^[80] Distler also found his performance of theVariations, Op. 2 to be "proficient yet characterless".^[77] Yehuda Prokopowicz was praised byPolskie Radio for his "excellent feel for the mazurka idiom" and "great intelligence",^[80] though Distler noted that "myriad mishaps" in the sonata threw him "off his game".^[77] Miyu Shindo's performance also drew varied commentary; Puchalski described a "deeply emotional account" of her sonata,^[79] and Ciupka praised her self-control,^[70] while Distler found her interpretations "conventional to the point of anonymity", though he acknowledged that "a true personality emerges" when she prioritizes musicality.^[77] The day concluded with a widely praised performance byPiotr Pawlak. Distler awarded him a "'third time's the charm' award", highlighting his "dazzling virtuosity" in the rarely-heardRondo à la Krakowiak and his "altogether more idiomatic" mazurkas.^[77] Puchalski noted his "literal" approach created "structural cohesion and order",^[79] whilePolskie Radio also lauded his "electrifying" performance of the Rondo.^[80]

On the final day of Stage III, 16 October,Tomoharu Ushida opened the day with a performance described by commentators forPolskie Radio as technically "almost flawless", though Distler found it "loud and undifferentiated".^[81][82]Zitong Wang's recital drew polarized reviews; Baranowska called her "one of the most captivating personalities" of the competition with an "exquisitely considered vision", and both Stefański and Chęćka praised her excellent mazurkas,^[83][70][75] while Distler was critical of her tone, finding it "hollow and aggressive" despite a "shimmering and ghostly" finale to her sonata.^[81] Yifan Wu, one of the youngest participants, was noted by Distler for delivering one of the competition's top performances of theBallade No. 2, thoughPolskie Radio felt his sonata performance revealed his "emotional immaturity".^[81][82] William Yang received universal acclaim for what Distler called a display of "astonishing brilliance and arresting originality". Gmys described him as one of the "most striking eccentrics" with "dazzling virtuosity",^[81][84] with Chęćka noting his playing was an "embodiment of Chopin's principle of simplicity" and marking him as a potential winner.^[75]Polskie Radio commentators hailed it as "one of the best performances of Stage III".^[85] Piotr Alexewicz delivered what Distler considered his "best playing... so far", with mazurkas played as if he was "inventing the music on the spot",^[81] though Gmys felt the recital had "occasional blemishes" and Stefański pointed to issues with "inaccuracy in the realization of the text".^[84][70]Kevin Chen's technically accomplished performance was viewed differently by critics. Stefański declared that Chen "keeps the competition at a distance", and Gmys saw him as a contender for multiple special prizes,^[70][84] while Distler praised his "restraint and mindful music-making".^[81] Commentators forPolskie Radio, however, felt a "sense of slight disappointment", finding the interpretation lacked a personal connection to the music.^[85] Returning after his illness,Eric Lu gave a performance that divided reviewers. Distler lauded his "technical mastery, rainbow of colours and poetic ardour", calling his rendition of theOp. 56 Mazurkas among the competition's finest.Polskie Radio commentators were split, with one hailing "the return of the poet" while another found it "mannered" and "calculated".^[81][85]

Following the conclusion of Stage III, the jury announced that 11 participants would advance to the final. Distler expressed gladness at the selection of Shiori Kuwahara, David Khrikuli, and William Yang, but was "greatly disappointed" by the elimination of Yang Gao, whom he considered to have delivered the "most consistently satisfying, probing and committed" interpretations in every round.^[86] Commentators forPolskie Radio considered the eliminations of Eric Guo and Hyuk Lee to be the biggest surprises, and noted that unlike in previous competitions, no clear frontrunner had emerged for the title.^[87] Chęćka speculated that the jury's selections promoted pianists who blended "aristocratic nobility and the purest musicality".^[75]

The final round took place from 18 to 20 October. Each of the eleven finalists was required to perform thePolonaise-Fantaisie, Op. 61, followed by one of Chopin's two piano concertos with theWarsaw Philharmonic Orchestra conducted byAndrey Boreyko. Seven finalists opted to perform thePiano Concerto No. 1 in E minor, and four chose thePiano Concerto No. 2 in F minor.^[88] Monika Pasiecznik ofRuch Muzyczny noted that the inclusion of the Polonaise-Fantaisie, a work of significant interpretative difficulty, raised the threshold for the finalists.^[89]

On the first day of the final, 18 October, Tianyou Li's performance received a reserved assessment from Distler, who found his Polonaise-Fantaisie played "carefully and shapelessly" and his Concerto in E minor to be dogged by a "lack of character and contrast".^[90] Pasiecznik characterized Li's playing as technically impeccable yet interpretively safe, resulting in a performance of the concerto that she found exceptionallyclassical and evenMozartian in character.^[89]

Returning prize-winnerEric Lu offered a Concerto in F minor that Puchalski called a "firmly articulated and meticulously shaped vision", and a Polonaise-Fantaisie he deemed the "most coherently" prepared of the evening.^[91] Pasiecznik also noted Lu played "more personally and gives himself over to emotions", finding a "touch of madness" in the Polonaise-Fantaisie's finale and praising his concerto for combining melancholy with an attention to detail.^[89] Distler noted Lu's "tonal magic" in the Polonaise-Fantaisie, but felt it "lacked rhythmic backbone" and that the concerto's rondo "never managed to dance".^[90]

16-year-old Tianyao Lyu's performance of the Concerto in E minor was deemed the highlight. Distler wrote that only Lyu "brought this concerto to life tonight, with consistent sparkle and rhythmic point in every phrase", praising her interaction with the orchestra.^[90] Commentators forPolskie Radio agreed, with Róża Światczyńska stating that "it was precisely the concerto part in which her talent blossomed in all its glory" and that the piece was "as if written by Chopin especially for her".^[92] Pasiecznik praised her for understanding the "Chopin idiom", highlighting the "clear reminiscences of dance" in her Polonaise-Fantaisie and a concerto that impressed with its "youthful energy", in which "delicacy was juxtaposed with an eruption of temperament",^[89] while Puchalski added that she reminded the audience of what Chopin's concertos truly are: "youthful works of spontaneous inspiration, brilliant in the most natural way, songful and radiant".^[91]

The day concluded with Vincent Ong, whose recital drew varied responses. Puchalski praised his Concerto in E minor for its "maturity" and "palette of mysterious colours", writing that in terms of emotional depth, the concerto's Romanza "surely belonged to the Malaysian pianist".^[91] Distler, however, found Ong's concerto lacking in contrast, though he credited the pianist as an "idea man" who held his attention in a "dynamically contrasted" Polonaise-Fantaisie.^[90] Pasiecznik found his Polonaise-Fantaisie "rather peculiar" and "essentially devoid of dance character", but was intrigued by his "undoubted musicality" in the concerto; she noted that while his use of large contrasts and sudden crescendos harmed the music's fluidity, it imbued the performance with a "particular energy" and a "distinct style".^[89]

On the second day, 19 October, Miyu Shindo was praised by Jessica Duchen of theChopin Courier for her Polonaise-Fantaisie, which had a "powerful sense of atmosphere", and by Distler as the "finest and most authentic playing" he had heard from her in the competition.^[93][94] Her Concerto in E minor, however, was seen by Distler as showcasing "the competitor over the artist",^[94] while commentators forPolskie Radio found her cantilena lacked the "fluidity and free-flowing nature" required for thestyle brillant.^[95] Ciupka also found her performance disappointing, calling the Polonaise-Fantaisie a "cycle of unrelated episodes" divided by "mannered rubatos", and felt her concerto wavered betweenTchaikovskian pathos and impressionistic explorations, culminating in a frustrating finale.^[89]

Zitong Wang's recital received a mixed reception. Her Polonaise-Fantaisie began with what Distler called "a few technical stumbles and highly exposed wrong chords", and commentators forPolskie Radio felt it was a "bad day" for her.^[94][95] Despite this, Duchen praised her for showing "much mature musicianship" and creating a "rapt intensity" that helped the complex work feel "almost like an improvisation", and Ciupka noted that despite memory slips in the Polonaise-Fantaisie, her concerto had "a lot of light and warmth" in place ofbrillante displays, particularly praising the final rondo as a "celebration of a jauntykrakowiak" with beautifully differentiated articulation.^[93][89] Distler found her most convincing playing came in the concerto's slow movement, where her phrasing "reclaimed the fluidity and eloquence of her finest work", while Andrzej Sułek ofPolskie Radio admired her "true, sincere personality".^[94][95]

William Yang's performance drew exceptional praise, with Distler declaring him "a genius" and "in a class by himself" for an interpretation that "eschews received opinion".^[94] Ciupka considered him the "greatest phenomenon of this Competition", praising his "flawless" execution and "most coherent interpretation" of the Polonaise-Fantaisie, which he achieved through a style of "feigned improvisation" that rejected sentimentality in favour of creating larger rhetorical wholes.^[89] Duchen lauded his Polonaise-Fantaisie, which she considered the "finest" of the competition so far, noting that he "shaped it unerringly", and described his Concerto in F minor as a "blend of filigree delicacy" and "great clarity" with "a completely assured personal concept".^[93] In a contrasting assessment, commentators forPolskie Radio felt his performance was "withdrawn" and that in the concerto he was "hidden somewhere behind the orchestra".^[95]

The final performer,Piotr Alexewicz, was described by Duchen as an "extrovert player" who "took ownership of the Polonaise-Fantasy in the very first notes".^[93] Ciupka contrasted his "extroverted" style, characterized by broad, narrative, and at timesBrahmsian phrasing with a "meaty, dark bass", with Yang's introversion, comparing their respective sounds to those ofEmil Gilels andKeith Jarrett, though he also noted Alexewicz had "significant stumbles" at the end of the concerto's rondo.^[89] Commentators forPolskie Radio hailed him as a "thoroughbred pianist and virtuoso who is not afraid of the orchestra", while Distler noted his "vibrant dynamic contrasts" and "hearty sense of narrative", though he felt the outer movements of the Concerto in F minor "lacked variety in articulation".^[94][95]

On the final day of the competition, 20 October,Shiori Kuwahara's Polonaise-Fantaisie was described by Distler as "full-bodied and amply inflected", while Gmys found it "restrained" but with an "excellent command of the keyboard".^[96][97] Her Concerto in E minor was highly praised by Distler, who wrote that it "sang its heart out in every bar" and was played by "a young pianist with an old soul and a generous sound".^[97] Stefański also noted her strength in building dramaturgy, describing a "turbulent" Polonaise-Fantaisie with a deep, sonorous tone, but felt this powerful, earthbound approach deprived the concerto's final krakowiak of lightness, resulting in a few stumbles.^[89]

David Khrikuli's performance drew polarized reviews. Gmys called his Polonaise-Fantaisie "exuberant" and his Concerto in F minor a "serious rival" to William Yang's, noting that he "intoned the dramatic recitativo of the Larghetto superbly".^[96] Stefański praised him as one of the competition's "most original participants", who successfully combined brillant playing with "strong emotion" and delivered a "jaunty" and "spirited" finale, though he also cautioned that the pianist's "nonchalant" approach sometimes proved "treacherous".^[89] Distler, however, found he "drove through the Polonaise-Fantaisie with detached impatience" and that his concerto's "ultra-polished finger work" produced "two-dimensional, undifferentiated results".^[97]

The final performance byKevin Chen was met with surprise. Gmys praised his Polonaise-Fantaisie as "philosophically attuned", with Chen "sculpting silence with exquisite finesse".^[96] His interpretation of the Concerto in E minor, however, was described by Gmys as a potential "disappointment" for many, with "moderate, even conservative, tempi" that foregrounded the work's "lyrical qualities" but lacked "youthful verve". Gmys suggested it was a deliberate artistic choice, an "unaffected abdication" from a purely virtuosic display.^[96] Stefański wrote that Chen's performance countered perceptions of him as an "emotionless technician", praising the "natural" Larghetto where the pianist "almost breathed with the orchestra" and noting that his technical skill allowed him to shade even the most virtuosic passages, but speculated that minor slips and a "slightly weaker disposition" on the night may have cost him the gold medal.^[89] Distler gave a harsher assessment, calling the concerto a "heavy, four-square and charmless" performance that "seemed to go on forever".^[97]

Following the final auditions, the jury announced the results after a lengthy period of deliberation. American pianistEric Lu was awarded the first prize, a notable achievement as he had placed fourth in the2015 competition.Kevin Chen of Canada was awarded the second prize, andZitong Wang of China the third. Fourth prize was shared by Tianyao Lyu and Shiori Kuwahara, while fifth prize was shared byPiotr Alexewicz and Vincent Ong. William Yang was awarded sixth prize.^[97]

The jury's verdict was met with surprise by several commentators. Marcin Majchrowski ofPolskie Radio called the result a "considerable surprise for observers and commentators", noting that unlike in the previous two competitions, no clear frontrunner had emerged.^[98] Sułek commented on the field being "so even and at the same time so incomplete in terms of a certain ideal... expected from the first prize winner" that he would have found it "fair and appropriate" if no first prize had been awarded.^[99] Światczyńska also expressed doubts, noting the difficulty she would have in selecting highlights from the winner's performances for a traditional laureate album.^[99] Distler wrote that he "would not have predicted Eric Lu's first prize, nor Kevin Chen placing second", though he acknowledged their "virtuosic prowess and sheer finesse".^[97] Distler also expressed surprise at Wang's third prize, felt that Yang "deserved better", and questioned why David Khrikuli did not place given his "overall strength in the solo rounds".^[97] Majchrowski voiced similar regret for Khrikuli, who "ignited my imagination in Stage III", and felt that Shiori Kuwahara "shone the most" in the final. He also pointed to comments from jury chairmanGarrick Ohlsson about "difficult discussions" and "long deliberations", suggesting a challenging decision-making process.^[98]

Stefański noted Lu's victory was like a "film script" after his illness in Stage III, and pointed to the dispersal of special prizes (including to non-finalists Adam Kałduński and Yehuda Prokopowicz) as evidence of the jury's difficult decisions.^[89] Gmys categorized the finalists into two interpretive camps based onM. H. Abrams's literary theory: "mirrors", who faithfully reflect the score (Chen, Kuwahara, Lu), and "lamps", who illuminate it with their own personality (Alexewicz, Khrikuli, Wang, Yang). Gmys also addressed public accusations that the competition was biased towards pianists from the Far East, refuting them as a "conspiracy" and attributing the success of these musicians to the constantly rising level of pianism in the region, a trend visible at international competitions worldwide, concluding that the final results were not a "scandal", as "in the face of such a balanced field, someone had to be eliminated".^[100]

The jury was composed of prominent pianists, pedagogues, and past winners of the competition. For the first time, the jury was chaired by a non-Polish musician, the American pianist and 1970 winnerGarrick Ohlsson. According to Director Artur Szklener, Ohlsson was selected for his deep analytical approach to music, which combines artistic interpretation with scholarly reflection, with the hope that his leadership would bring a new perspective to the evaluation of Chopin's works.^[15]

The competition jury consisted of:^[101]

The preliminary jury consisted of:^[101]

Jury members gave each performance 1 to 25 points, with the following rating categories: Perfect (25), Exceptional (23–24), Very good (18–22), Good (16–17), Average (12–15), Below average (6–11), and Poor (1–5). Jury members did not evaluate their own students, defined as participants who had studied with them regularly for more than six months since the2021 competition or with whom they had a relationship that could affect impartial judgment. To ensure fairness, if any juror's score deviated from the mean by more than 3 points in round one or 2 points in subsequent rounds, it was adjusted to the nearest boundary value.^[102]

Cumulative scores were calculated using different weightings for each stage. After round two, scores were weighted 30% for round one and 70% for round two. After round three, the weighting shifted to 10% for round one, 20% for round two, and 70% for round three. Final scores combined all four stages: 10% round one, 20% round two, 35% round three, and 35% for the final. In principle, no more than 40 participants would advance to round two, 20 to round three, and 10 to the final. After the final performances, the jury chairman proposed a verdict on prize awards, which required approval by at least two-thirds of the jury. The jury could adjust the final ranking by up to one position from the cumulative scores (or two positions with three-quarters approval), and could also modify the distribution of prizes.^[102]

For special prizes, each jury member submitted a list of three participants (worth 3, 2, and 1 points respectively), and the prize was awarded to the participant with the highest total, provided they received at least twice as many points as there were voting jury members. If no participant reached this threshold or there was a tie, the chairman would conduct a vote requiring an absolute majority; if this failed, the special prize would not be awarded.^[102]