When the Mind Plays First: Lessons from the Chopin Competition
- joannalatalacello
- Oct 9
- 5 min read
A reflection on pressure, presence, and the psychology of performance.
For the past few days, the entire music world has been buzzing. In the homes of those who are passionate about classical music, the sounds of the piano fill the air through the broadcasts of one of the greatest and most prestigious piano competitions in the world — the International Chopin Piano Competition in Warsaw.
The day before the competition began, Polish media were already in a frenzy — “The Games have begun!” Although the phrase itself may sound unfortunate, even negative, its underlying message is quite accurate… The winner truly gets a new life — contracts, concert tours, and fame. In that sense, the word “games” captures the spirit of the competition quite well. The only question is: are we really talking about games? And how well are the participants prepared for them?
Watching most of the performances on television, I also had a chance to see what happens behind the scenes. The camera follows each participant already in the competition foyer — allowing us to see exactly what’s going on in their faces and bodies two minutes before they step onto the stage.
The variety of pre-concert routines — or their complete absence — is truly astonishing. In the commentary, we constantly hear about the enormous stress, pressure, and expectations. There was even a comparison made to athletes, who are supported by psychologists and mental coaches. Supposedly, that doesn’t exist in the world of music… but does it really not?
Watching the first-round eliminations with fascination, I noticed an interesting division. Many participants go in spontaneously — they rush onto the stage, jump, do physical warm-ups, pace nervously, avoiding the camera with their eyes and bodies. Others seem not to know what to do with themselves — they wander around, and you can almost feel the rising, uncontrollable adrenaline through the screen. But there are also those who stand confidently and calmly in the foyer — taking deep breaths, focusing, relaxed. You can see they are mentally preparing for the performance. Some even wave at the camera, greeting the viewers.
The diversity continues as they step onto the stage. Some greet the audience confidently, enjoying the applause that is meant for them. Others, nervous and chaotic, rush to sit at the piano and start playing as quickly as possible. You can immediately tell who has a routine and who is relying solely on adrenaline. The differences in preparatory rituals are striking: anxious wiping of the keyboard, repeatedly rubbing hands on trousers, glancing at the ceiling, or adjusting the bench four times in a row. And then there are those who do these things only once — calmly, confidently, with full focus. Their body and mind are synchronized, ready. The sequence of movements resembles Novak Djokovic before a serve rather than a nervous child before a thousand-person audience. A set routine brings calmness and confidence — not to mention that it also helps the listener enter the music that is about to flow from the piano.
The Chopin Competition is an extraordinarily demanding event. It’s a marathon in which not only technical skill matters but also mental resilience, concentration, and the ability to handle pressure. It’s not enough to play well — or even brilliantly — one must also feel, understand, and express the unique character of the composer and each piece. The program for the three stages is enormous — truly gigantic. No wonder that the winner gains access to the concert halls of the entire world. The question remains — are they ready for it?
Some participants are barely 17 years old. Many of them have already been through numerous competitions — the kind you must pass to even apply for Chopin. The problem is, no one talks about what happens next. After winning, a new path begins: countless concerts, week after week, month after month — for at least the next four years. So who really wins?
I won’t reveal the name of my favorite finalist, but I will tell you about one participant who, from the very first step onto the stage, embodied a true winner. Yes — that’s the right word. From the moment he appeared, he radiated triumph! He behaved as if he had already won — confident, composed, focused, presenting in every note the music he both mastered and enjoyed, carried by the flow. He enchanted the audience and advanced to the next round.
Watching this competition, one great wish comes to mind – that the World Federation of International Music Competitions (WFIMC) will recognize the profound importance of psychological preparation for performing artists. Perhaps in the future, a collaborative program could be created to support young musicians in developing not only their artistic skills but also their mental resilience. Such an initiative could ensure equal opportunities for all participants – regardless of their country, school, or financial background. It’s already evident that some competitors benefit from working with mental coaches and applying methods from sports psychology – routines, affirmations, visualizations, or breathing techniques. These tools truly make a difference and can help musicians perform at their highest potential, just as they help athletes reach peak performance.
You can clearly see who has had access to mental coaching and who has never even heard of it. They represent different continents, cultures, and schools — yet all face the same challenge: how to master themselves before touching the first key. And although, as they say, “the best Chopinist will win,” in today’s musical world, to even have the chance to present one’s inner self, one must have a strategy, tools, and methods. Ones that help not only to master the repertoire and the keys but also the pressure, stage fright, the presence of cameras — and perhaps above all, oneself. Because suddenly — from being a student practicing in a small room on the other side of the globe — one becomes a public figure: giving interviews, appearing in the media, and thanking audiences for applause on a grand stage.
It’s impossible not to feel that this entire context has a tremendous impact not only on perception but above all on the result. On the outcome of years of work, sweat, and sacrifice that lead to this one, single moment — performing Chopin’s works on one of the world’s most prestigious piano stages. And so, to keep the sweat from stinging your eyes and your hands from slipping on the keyboard — it’s worth having, in your fingers, your body, and perhaps most importantly, your mind, the methods that allow you not only to play — but to win.
